January 2025

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Allow your workforce to take

center stage with insights from UKG

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UKG-CREATIVE A-NATIONAL 01-25.indd 1 12/5/24 10:16 AM

 Contents
January 2025
Page 2
From the Interim
President and CEO
Page 9
The Philadelphia Orchestra
Continues its Orchestra
After 5 Series
Page 10
The Philadelphia Orchestra
and Ensemble Arts’s
All-City Fellowship
Program Helps Cultivate
the Next Generation
Page 15
Musicians Behind
the Scenes
On the Cover:
Specially designed art for the Mahler’s Page 19
Symphony No. 9 concerts, January 9 and 11, 2025,
by Haeg Design The Program

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All Rights Reserved. PLAYBILL® is a Registered Trademark of PLAYBILL Incorporated.

0125_Phil_TOC.indd 2 12/9/24 7:36 PM

 From the Interim President and CEO
Dear Friends:

Happy New Year! I hope your holidays were filled with joy,
good company, and great music.

This month features an array of spectacular concerts to

broaden our audiences. We start with a pair of concerts
featuring the incredible music of Joe Hisaishi, who also
conducts the performances. Known for his enchanting
scores to Hayao Miyazaki’s films, he brings two classical
works along with his suite from Spirited Away. We once again
mark Lunar New Year with a concert led by Assistant Conductor Naomi Woo. And we
present the second concert in our award-winning happy hour series, Orchestra After 5,
an earlier one-hour performance with pre-concert activities, specialty cocktails, and a
post-concert talkback. Winner of “Best Classical Outing” in Philadelphia magazine’s
2024 Best of Philly, the series has been praised as “the freshest happy hour in town”
by the Philadelphia Inquirer.

Of course, we also give a number of subscription concerts this month, performing an

extremely diverse mix of repertoire, from well-known staples by composers such as
Tchaikovsky, Mahler, and Ravel, to newer pieces by Kaija Saariaho and Jake Heggie. We
also continue our exploration of lesser-known works, including those by 20th-century
composers Alfredo Casella, Margaret Bonds, and William Grant Still, all while welcoming
old friends and new: Yuja Wang, Paul Jacobs, Rafael Payare, Joshua Hopkins, and
Carolin Widmann.

The Orchestra performs outside of the Kimmel Center in our efforts to share the
transformative power of music with the widest possible audience: at Girard College
Chapel for our 35th Annual Martin Luther King, Jr., Tribute Concert and at Carnegie
Hall for the second of three performances this season in that storied space, where the
Orchestra first performed back in November 1902, only two years after the ensemble’s
founding.

To spark interest in classical music, our youngest listeners can enjoy one of our signature
education and community programs, Sound All Around, the second of five performances
this season where children learn about the instrument families in an informal
introduction to music through storytelling. In addition, one of our most popular member
benefits returns: Open Rehearsals. These invitation-only events offer a fascinating
glimpse into the rehearsal process.

With such a breadth of experiences this month, we showcase how The Philadelphia
Orchestra continues to innovate and find new ways of connecting with audiences.
We hope you will join us!

Best regards,

Ryan Fleur
Interim President and CEO

0125_Phil_Letter.indd 4 12/9/24 7:38 PM

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 The Philadelphia
2024–2025 Season
Orchestra
Yannick Nézet-Séguin Jennifer Haas David Nicastro
Music and Artistic Miyo Curnow Che-Hung Chen
Director Elina Kalendarova Rachel Ku
Walter and Leonore Daniel Han Marvin Moon
Annenberg Chair Julia Li Meng Wang
William Polk
Marin Alsop Mei Ching Huang Cellos
Principal Guest Conductor Hai-Ye Ni, Principal
Ralph and Beth Johnston Second Violins Priscilla Lee, Associate
Muller Chair Kimberly Fisher, Principal Principal
Peter A. Benoliel Chair Yumi Kendall, Assistant
Naomi Woo Paul Roby, Associate Principal
Assistant Conductor Principal Elaine Woo Camarda and
Sandra and David A. Morris Williams, Jr.,
Joseph Conyers Marshall Chair Chair
Education and Dara Morales, Assistant Richard Harlow
Community Ambassador Principal Kathryn Picht Read
Mark and Tobey Dichter Anne M. Buxton Chair John Koen
Chair Philip Kates Derek Barnes
Peter A. Benoliel Chair Alex Veltman
Charlotte Blake Alston Davyd Booth
Storyteller, Narrator, Paul Arnold Basses
and Host Joseph Brodo Chair, given Joseph Conyers,
Osagie and Losenge by Peter A.Benoliel Principal
Imasogie Chair Boris Balter Carole and Emilio
Amy Oshiro-Morales Gravagno Chair
First Violins Volunteer Committees Gabriel Polinsky,
David Kim, Concertmaster Chair Associate Principal
Dr. Benjamin Rush Chair Yu-Ting Chen Tobias Vigneau, Assistant
Juliette Kang, First Jeoung-Yin Kim Principal
Associate Concertmaster Willa Finck David Fay*
Joseph and Marie Field John Bian Duane Rosengard
Chair MuChen Hsieh Nathaniel West
Christine Lim, Associate Eliot Heaton Michael Franz
Concertmaster Christian Gray
Marc Rovetti, Assistant Violas
Concertmaster Choong-Jin Chang, Some members of the string
Dr. James F. Dougherty Principal sections voluntarily rotate
Chair Ruth and A. Morris seating on a periodic basis.
Barbara Govatos Williams, Jr., Chair
Robert E. Mortensen Chair Kirsten Johnson, Flutes
Jonathan Beiler Associate Principal Jeffrey Khaner, Principal
Hirono Oka Kerri Ryan, Assistant Paul and Barbara Henkels
Richard Amoroso Principal Chair
Robert and Lynne Pollack Burchard Tang Patrick Williams,
Chair Renard Edwards Associate Principal
Yayoi Numazawa Anna Marie Ahn Rachelle and Ronald
Jason DePue* Petersen Kaiserman Chair
Larry A. Grika Chair Piasecki Family Chair Olivia Staton
Erica Peel, Piccolo
4

0125_Phil Roster.indd 4 12/9/24 7:39 PM

 Oboes Chelsea McFarland Harp
Philippe Tondre, Principal Ernesto Tovar Torres Elizabeth Hainen,
Samuel S. Fels Chair Principal
Peter Smith, Associate Trumpets
Principal Esteban Batallán, Librarians
Jonathan Blumenfeld Principal Nicole Jordan, Principal
Edwin Tuttle Chair Marguerite and Gerry Holly Matthews
Elizabeth Starr Lenfest Chair
Masoudnia, Jeffrey Curnow, Stage Personnel
English Horn Associate Principal Dennis Moore, Jr.,
Joanne T. Greenspun Anthony Prisk Manager
Chair Francis “Chip” O’Shea III
Trombones Aaron Wilson
Clarinets Nitzan Haroz, Principal
Ricardo Morales, Neubauer Family
Principal Foundation Chair
Leslie Miller and Richard Matthew Vaughn, *On leave
Worley Chair Co-Principal
Samuel Caviezel, Jack Grimm
Associate Principal Blair Bollinger, Bass
Sarah and Frank Coulson Trombone
Chair Drs. Bong and Mi Wha
Socrates Villegas Lee Chair
Paul R. Demers, Bass
Clarinet Tuba
Peter M. Joseph and Susan Carol Jantsch, Principal
Rittenhouse Joseph Chair Lyn and George M. Ross
Chair
Bassoons
Daniel Matsukawa, Timpani
Principal Don S. Liuzzi, Principal
Richard M. Klein Chair Dwight V. Dowley Chair
Mark Gigliotti, Angela Zator Nelson,
Co-Principal Associate Principal
Angela Anderson Smith
Holly Blake*, Percussion
Contrabassoon Christopher Deviney,
Principal
Horns Charlie Rosmarin,
Jennifer Montone, Associate Principal
Principal Angela Zator Nelson
Gray Charitable Trust
Chair Piano and Celesta
Jeffrey Lang, Associate Kiyoko Takeuti
Principal
Hannah L. and J. Welles Keyboards
Henderson Chair Davyd Booth
Christopher Dwyer

0125_Phil Roster.indd 6 12/9/24 7:39 PM

 Music and Artistic Director
Yannick Nézet-Séguin is currently in his 13th season
with The Philadelphia Orchestra, serving as music
and artistic director. An inspired leader, Yannick, who
holds the Walter and Leonore Annenberg Chair, is
Landon Nordeman

both an evolutionary and a revolutionary, developing

the mighty “Philadelphia Sound” in new ways. His
collaborative style, deeply rooted musical curiosity,
and boundless enthusiasm have been heralded by
critics and audiences alike. The New York Times has
called him “phenomenal,” adding that “the ensemble,
famous for its glowing strings and homogenous
richness, has never sounded better.”

Yannick has established himself as a musical leader of the highest caliber and one
of the most thrilling and sought-after talents of his generation. He became the third
music director of New York’s Metropolitan Opera in 2018. In addition, he has been
artistic director and principal conductor of Montreal’s Orchestre Métropolitain since
2000. In 2017 he became the third-ever honorary member of the Chamber Orchestra
of Europe. He served as music director of the Rotterdam Philharmonic from 2008 to
2018 (he is now honorary conductor) and was principal guest conductor of the London
Philharmonic from 2008 to 2014. He has made wildly successful appearances with the
world’s most revered ensembles and at many of the leading opera houses.

Yannick has shown a deep commitment to expanding the repertoire by embracing an

ever-growing and diverse group of today’s composers and by performing the music
of under-appreciated composers of the past. In 2018 he signed an exclusive recording
contract with Deutsche Grammophon. Under his leadership The Philadelphia
Orchestra returned to recording with 14 releases on that label, including Florence Price
Symphonies Nos. 1 & 3, which won a GRAMMY® Award for Best Orchestral Performance
in 2022.

A native of Montreal, Yannick studied piano, conducting, composition, and chamber

music at Montreal’s Conservatory of Music and continued his studies with renowned
conductors, most notably Carlo Maria Giulini; he also studied choral conducting with
Joseph Flummerfelt at Westminster Choir College. Among Yannick’s honors are an
appointment as Companion of the Order of Canada; Companion to the Order of Arts
and Letters of Quebec; an Officer of the Order of Quebec; an Officer of the Order of
Montreal; an Officier de l’Ordre des Arts et des Lettres; Musical America’s 2016 Artist of
the Year; ECHO KLASSIK’s 2014 Conductor of the Year; a Royal Philharmonic Society
Award; Canada’s National Arts Centre Award; the Prix Denise-Pelletier; the Oskar
Morawetz Award; and honorary doctorates from the University of Quebec, the Curtis
Institute of Music, Westminster Choir College of Rider University, McGill University,
the University of Montreal, the University of Pennsylvania, Laval University, and Drexel
University.

To read Yannick’s full bio, please visit philorch.org/conductor.

0125_Phil_MusicDirector.indd 10 12/9/24 7:41 PM

 Beauty and the Beast, For 200
At this Philadelphia school, the annual production involves everybody.
By Dylan Parent

W
elcome to PLAYBILLDER Spotlight, where Playbill highlights shows from educational
institutions or regional theatres and special events around the country (who have used
Playbill’s program-building service). By welcoming these PLAYBILLDERs center stage, we
hope to give our readers a more in-depth look at theatre programs that are fostering the love of
the performing arts in the next generation and the way theatre lovers are bringing Playbill along
for life’s big moments.
Below, we spotlight Julia R. Masterman Laboratory and Demonstration School of Philadelphia,
Pennsylvania and their production of Disney’s Beauty and the Beast. Instrumental Music teacher
Kim Kelter Neu shared with Playbill just how many children came together to put up the show.

Tell us a little about yourself.

How many years have you been
teaching?
Kim Kelter Neu: I’ve been
teaching for 25 years and
our musical is certainly the
highlight each year.

PH OTO C O UR TE SY O F MASTE R MAN H IGH SC H O O L

How does your school’s perform-
ing arts program impact your
community?
Our school musical brings
together our community,
involving over 200 students
from both middle and high
school. Students make the
sets and the props as well as run whatever show we pick must work for fifth and
the sound control, the lights, play in the 12th graders alike. Beauty and the Beast was
orchestra, and, of course, star in the show! an easy and perfect choice this year!
Families leave our show amazed at what the
students have achieved. What reactions do you expect to see in students when
they see their name printed in this Playbill for the first
How do you choose shows for your students? time?
When we choose our show, we always pick Students love seeing the finished Playbill,
something that involves all the students. It especially the ads their family and friends put
must have a chorus and a full orchestra. This in for them.
limits our choices but allows us to include the
most students. We also must keep in mind To design Broadway-quality programs for your
that our school is grades five through 12, so next show, head to PLAYBILLDER.com.

0125_BeautyBeast_Philly.indd 27 12/5/24 12:58 PM

 Marian Anderson Hall
Adrian Siegel Collection/Philadelphia Orchestra Archives

Marian Anderson with Music Director Eugene Ormandy during a Philadelphia Orchestra
rehearsal at the Academy of Music in December 1938

On June 8, 2024, Verizon Hall at the Kimmel Center for the Performing Arts was
officially rededicated as Marian Anderson Hall in honor of the legendary Black
contralto, civil rights icon, and Philadelphian. The first major concert venue in the
world to honor Marian Anderson—85 years after she was barred from performing at
Constitution Hall in Washington, D.C., because of her race—the hall is a permanent
monument to its namesake’s artistry and achievements, a reflection of the inclusive
future she helped to engender, and an active testament to the intersection of music,
art, and positive social impact. We look forward to honoring Marian Anderson in
perpetuity with a venue that reflects the ideals by which she lived her life: equity,
justice, freedom, and the belief that the arts are for everyone.

Marian Anderson Hall was named in her honor by a visionary $25-million philanthropic
gift from Richard Worley and Leslie Miller. Worley has been a member of The
Philadelphia Orchestra’s Board of Trustees since 1997 and served as board chair from
2009 to 2019. Miller is a former Kimmel Center trustee and previous acting president
of the Kimmel Center. They are among the largest donors in Philadelphia Orchestra
history. Additional generous support for Marian Anderson Hall was given by Sidney
and Caroline Kimmel.

0125_Phil_MarianAnderson.indd 8 12/9/24 7:42 PM

 Musicians Behind the Scenes
John Bian Violin

Where were you born?

I was born in Minneapolis, Minnesota.
What piece of music could you play over and over again?
Prokofiev’s Fifth Symphony. There’s so much
fun stuff to do in that piece.
What is your most treasured possession?
My violin and my bow of course!
What’s your favorite food?
Peking Duck. I had it three times when we were
on the China Tour [last October/November]!
Tell us about your instrument.
My violin is from the mid-19th century and was made
by an Englishman named John Frederick Lott II. In the middle of his life, he stopped making
instruments and went on to train elephants for the circus for a time. His elephant “Mademoiselle
D’Jeck” ended up assaulting a priest in Geneva and breaking his ribs. The animal was sentenced
to death by canon fire then butchered and eaten by the townspeople. Afterwards Lott went
back to making violins. Crazy story!
What’s in your instrument case? Rosin, pencil sharpener, extra strings and mutes, and a couple
of omamori [good luck charms from Japan] from my wife.
If you could ask one composer one question, what would it be?
I would ask Leonard Bernstein “Do you think you could have become an even greater composer
if you weren’t also a conductor?”
What piece of music never fails to move you? Richard Strauss’s Four Last Songs.
What is the most challenging piece you have ever played?
I played the Corigliano Violin Sonata for my master’s degree recital and it kicked my butt.
What do you love most about performing?
How alive and connected I feel to the people on stage. In this orchestra especially, I feel an
incredible energy from my colleagues and it invigorates me during every concert.
When did you join the Orchestra? In July 2024.
Do you play any other instruments?
I played hammered dulcimer for a couple years in high school.
What’s your favorite Philadelphia restaurant?
My wife and I went to Zahav shortly after we moved here and it was tremendous.
What are you reading right now? The Name of the Wind by Patrick Rothfuss. It was
recommended to me by fellow new hire Eliot Heaton.
Do you speak any other languages? Chinese.
What do you like to do in your spare time? I love going out to the movies. The Philadelphia
Film Society has great theaters that curate an awesome selection of movies both old and new.
What’s your favorite movie?
Spirited Away, There Will Be Blood, Persona, and The Lord of the Rings: The Two Towers.
What do you love most about Philadelphia?
There is so much good food. It’s hard to find a bad bite around town.

To read the full set of questions, please visit www.philorch.org/Bian.

0125_Phil_MBS.indd 17 12/9/24 7:51 PM

 The Philadelphia
Orchestra and
Ensemble Arts’s
All-City
Fellowship
Program Helps
Cultivate the
Next Generation
By Steve Holt

The Philadelphia Orchestra has been dedicated to

presenting the best classical music in the world for
over a century. But how to develop future generations
of audiences and performers, to ensure that this jewel
in Philadelphia’s crown continues to glitter?

The All-City Orchestra and Jazz Fellowships address

that challenge on several fronts, by offering in-depth
support to promising high school students across
the city. How did this vital partnership between The
Philadelphia Orchestra and Ensemble Arts and the
School District of Philadelphia get started?

For one thing, Orchestra Vice President of Education and Community Danielle Allen
explains, the community was speaking out. “We were constantly hearing from parents
and students: ‘Can I get lessons from an Orchestra member?’ Or: ‘My kid plays well, but
we can’t afford lessons, or an instrument.’ Because we believe very strongly that it’s our
duty to cultivate the next generation of artists and audiences, we decided to create
the Fellowship Program. We were already partnering closely with the School District
of Philadelphia on the All-City Music Program, which features the best and brightest
musicians throughout the school district. So it was a natural step to audition those
participants for the Fellowship.”

Director of Instrumental Music Education Maya Jacobs says the auditions can be
daunting. “We have a nice pool of candidates, but we always try to reach out to more.

10

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 Music and Artistic Director
Yannick Nézet-Séguin conducts
the All-City Orchestra and Chorus
at the All-City Festival in 2016.

Jessica Griffin

We have to realize that kids are really busy, and a lot of them don’t know about the
program. Some of them are intimidated by the competition. We’re trying to make the
process accessible to more and more students.”

Once chosen, the fellows have access to a treasure trove of support, starting with
weekly private lessons from the best of the best. “The orchestra fellows get to study
with members of The Philadelphia Orchestra,” Jacobs says. “The jazz fellows get lessons
with some of the most famous jazz players in Philadelphia. The fellows also
get financial support: to purchase instruments and for repairs, for sheet music, or to
cover the costs of an audition. We can also help with applying to college or music
school, or dealing with performance anxiety. We’re paving the way for them to be
well-rounded musicians.”

11

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 Other benefits range from access to
Violinist Sonya Dobi is
currently in her second
select master classes, meet-and-greets
year as an orchestra fellow. with guest artists, educational workshops,
and free and discounted tickets to
Philadelphia Orchestra and Ensemble
Arts concerts. An extra bonus for the
fellows: professional headshots.

The jazz fellows are a recent addition

to the program. As Allen explains, “Both
classical music and jazz have really deep
roots here in Philadelphia. When The
Philadelphia Orchestra merged with
the Kimmel Cultural Campus to form
Ensemble Arts, Kimmel had its Jazz
Collective, which was a similar program,
but it wasn’t a formalized fellowship.
We wanted to provide those students
who want to seriously study jazz with
the same opportunities as our orchestra
fellows. We’re trying to be responsive and
meet the needs of the community.”

Allen admits, the price tag for all these

benefits is substantial. “That’s why we’re
beyond grateful for our donors. They’re
people who really care, or they might have a really compelling personal story about
their connection to the arts. And we also have corporate donors and foundations that
believe so much in the work that we’re doing.”

One grateful current fellow is Sonya Dobi. She began playing violin when she was eight
years old, thanks to the music instruction program at Robert B. Pollock Elementary
School. She’s now a senior at the Philadelphia High School for the Creative and
Performing Arts (CAPA).

“I had some older friends who were fellows and they kept telling me to audition. And
then some of my teachers did, too, especially my orchestra director, Nanette Foley,
who’s very supportive in finding opportunities for students. But I missed the deadline!
[Kids are really busy!] I kept asking for more information, and finally at the end of my
sophomore year I was able to audition and got in.”

As a fellow, Dobi has lessons every Saturday with Assistant Principal Second Violin
Dara Morales. “And along with that, last year I got to perform on the Plaza Stage at the
Kimmel Center. That was a lot of fun!” She says that’s just one example of the unique
opportunities the Fellowship offers. And they’re not all strictly musical.

“This program has really taught me how to manage spending,” she says. “They offer us
money to spend on music and music supplies, so I’ve had to learn a lot about budgeting.
I’ve also learned to advocate for myself, because I have to reach out when I need
something; for example, when I had to set up lessons with my teacher. I wasn’t very
comfortable with that in the beginning, but it’s really helped me grow in that aspect.”

12

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 The 2024–25 orchestra and jazz fellows: Jacob Dennis, tenor saxophone (jazz); Demi Gao, cello
(orchestra); Sonya Dobi, violin (orchestra); Simon Church, piano (jazz); Anna Dubiuk, violin (orchestra);
Lily Toner, bass (jazz); and Elijah Booker, drum set (jazz). Missing are Keith Holmes, tuba (orchestra), and
Emma Jimenez, voice (jazz).

The fellows also get help with what people of a certain age refer to as “sheet music.”
Isn’t everything digital now? “Oh yeah, we’re definitely in a digital age,” Dobi says, “but I
still get sheet music on paper. I like to be able to write notes on it. I also feel way cooler
carrying around music paper than a tablet!”

Now, Dobi is one of those dedicated fellows who tries to convince friends to sign up. The
free music lessons are a huge selling point. But she does meet some resistance. “I think
the biggest objection is from people who don’t want to do music seriously in the future.
And I think that’s a little sad, because music doesn’t have to be just a profession. It can
be a teaching tool, and it also gives you so many important life lessons.”

Recently, Dobi has been very busy preparing for college. But perhaps surprisingly, she
doesn’t plan on majoring in music. “I thought about it very seriously. I was concerned
that maybe the pressure of it, and the competitiveness, would have made me start to
dislike playing, in a way that having it as a hobby or as a minor wouldn’t. I want to keep
music as a part of my life.”

Allen supports Dobi’s plans. “This is about so much more than just performance, music,
theater. None of these things exists in a vacuum. They are also means of expression,
where students can work through life issues. There’s data over many decades that
proves the benefits of arts education in other subject areas. We’re just doing our part
to try to help supplement some of the arts education that might be missing in some
learning environments.”

Of course, Allen will be equally happy with fellows who go on to careers as

professional musicians. “We’re always dreaming of the day when our students come
back to perform on our main stages, or maybe even win a seat in the Orchestra. I
hope I’m alive to see that!”

Steve Holt, managing partner at re:Write, is a veteran journalist and musician.

14

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 The Philadelphia Orchestra
Continues its Orchestra
After 5 Series

The inaugural season of Orchestra After 5 earned a Best of Philly award from
Philadelphia magazine for “Best Classical Outing,” and the Philadelphia Inquirer called it
“the freshest happy hour in town.”

Orchestra After 5 offers hour-long classical concerts at 6:30 PM in a casual

atmosphere and puts a modern twist on the traditional Orchestra experience.
Audiences gain a new perspective through live video close-ups of the conductor
projected on a large screen behind the Orchestra. Engaging informational content
about the music will also be highlighted on a second screen, providing context to the
works as they are performed. In addition, beginning at 5 PM, right after the workday
ends, audiences will enjoy curated pre-concert activities, themed cocktails, and post-
concert conversations with musicians of the Orchestra and guest artists.

The series opened in November and continues on January 30 with Holst’s The Planets
led by Daniele Rustioni and featuring the sopranos and altos of the Philadelphia
Symphonic Choir and on March 27 with Shostakovich’s Fifth Symphony led by former
Principal Guest Conductor Nathalie Stutzmann. Learn more about Orchestra After 5
at www.philorch.org.

15

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 A
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2024–2025 | 125th Season
Marian Anderson Hall

The Philadelphia Orchestra

Thursday, January 9, at 7:30
Saturday, January 11, at 8:00

Yannick Nézet-Séguin Conductor

Charlotte Blake Alston Speaker
Joshua Hopkins Baritone

Heggie Songs for Murdered Sisters

I. Empty Chair—
II. Enchantment
III. Anger
IV. Dream
V. Bird Soul
VI. Lost
VII. Rage
VIII. Coda: Song
United States premiere of orchestral version

Intermission

Mahler Symphony No. 9 in D major

I. Andante comodo
II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
III. Rondo—Burleske: Allegro assai. Sehr trotzig
IV. Adagio: Sehr langsam und noch zurückhaltend

This program runs approximately two hours, 30 minutes.

Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday

afternoons at 1 PM and are repeated on Monday evenings at 7 PM on WRTI HD 2.
Visit www.wrti.org to listen live or for more details.
19
Jeff Fusco

The Philadelphia Orchestra

The world-renowned Philadelphia Orchestra home since 2001, and in 2024 Verizon
strives to share the transformative Hall at the Kimmel Center was officially
power of music with the widest possible rededicated as Marian Anderson Hall in
audience, and to create joy, connection, honor of the legendary contralto, civil rights
and excitement through music in the icon, and Philadelphian. The Orchestra’s
Philadelphia region, across the country, award-winning education and community
and around the world. Through innovative initiatives engage over 50,000 students,
programming, robust education initiatives, families, and community members of all
a commitment to its diverse communities, ages through programs such as PlayINs;
and the embrace of digital outreach, the side-by-sides; PopUP concerts; Our City,
ensemble is creating an expansive and Your Orchestra Live; the free annual Martin
inclusive future for classical music and Luther King, Jr., Tribute Concert; School
furthering the place of the arts in an open Concerts; sensory-friendly concerts; open
and democratic society. In June 2021 rehearsals; the School Partnership Program
the Orchestra and its home, the Kimmel and School Ensemble Program; All-City
Center, united. Today, The Philadelphia
Orchestra Fellowships; and residency work
Orchestra and Ensemble Arts brings the
in Philadelphia and abroad.
greatest performances and most impactful
education and community programs to Through concerts, tours, residencies, and
audiences in Philadelphia and beyond. recordings, the Orchestra is a global
ambassador and one of our nation’s greatest
Yannick Nézet-Séguin is now in his 13th
exports. It performs annually at Carnegie
season with The Philadelphia Orchestra,
Hall, the Mann Center, the Saratoga
serving as music and artistic director. His
Performing Arts Center, and the Bravo! Vail
connection to the ensemble’s musicians has
Music Festival. The Orchestra also has a
been praised by both concertgoers and
critics, and he is embraced by the musicians rich touring history, having first performed
of the Orchestra, audiences, and the outside Philadelphia in its earliest days. In
community. In addition to expanding the 1973 it was the first American orchestra to
repertoire by embracing an ever-growing perform in the People’s Republic of China,
and diverse group of today’s composers, launching a now-five-decade commitment
Yannick and the Orchestra are committed of people-to-people exchange.
to performing and recording the works of Under Yannick’s leadership, the Orchestra
previously overlooked composers. returned to recording with 14 celebrated
Your Philadelphia Orchestra takes great releases on the Deutsche Grammophon
pride in its hometown, performing for the label, including the GRAMMY® Award–
people of Philadelphia year-round, at the winning Florence Price Symphonies Nos. 1 &
Kimmel Center for the Performing Arts and 3. The Orchestra also reaches thousands
around the community, in classrooms and of radio listeners with weekly broadcasts
hospitals, and over the airwaves and online. on WRTI-FM and SiriusXM. For more
The Kimmel Center has been the ensemble’s information, please visit www.philorch.org.
20
Speaker
Charlotte Blake Alston is an internationally acclaimed
storyteller, narrator, and librettist. In July 2021 she was
named The Philadelphia Orchestra’s Imasogie Storyteller,
Narrator, and Host. She has appeared as host and
narrator on the Orchestra’s School and Family concerts
since 1991 and was the host of Sound All Around, the
Orchestra’s preschool concert series, from 1994 to 2024.
She has also appeared on each of the Orchestra’s Martin
Luther King, Jr., Tribute Concerts since 2003.

Committed to keeping alive African and African-American oral traditions, Ms.

Alston has performed on national and regional stages including the Smithsonian
Institution, the National Museum of Women in the Arts, and the John F. Kennedy
Center for the Performing Arts. She has been a featured artist at the National
Storytelling Festival; the National Festival of Black Storytelling; and festivals in
Ireland, Switzerland, South Africa, and Brazil. She has performed at Presidential
inaugural festivities in Washington, D.C., and the Pennsylvania Gubernatorial
Children’s Inaugural Celebrations in Harrisburg. She was also one of two storytellers
selected to present at the opening of the National Museum of African American
History and Culture in Washington, D.C. She has been guest narrator for several
orchestras including the Cleveland Orchestra, the Boston Symphony, and the Los
Angeles Philharmonic. During a 20-year association with Carnegie Hall, she was
the featured preconcert artist, host, and narrator on the Family, School, and
Global Encounters concert series and represented the Hall in Miyazaki, Japan.
She has also performed as a touring artist for Lincoln Center Institute.

Ms. Alston has produced several commissioned texts for orchestras and choirs
including original narration for Saint-Saëns’s The Carnival of the Animals and
Rimsky-Korsakov’s Sheherazade. Her honors include two honorary Ph.Ds,
a Pew Fellowship in the Arts, and the Circle of Excellence Award from the
National Storytelling Association. She is the recipient of the Commonwealth of
Pennsylvania’s Artist of the Year Award and the Zora Neale Hurston Award, the
highest award bestowed by the National Association of Black Storytellers. In 2023
she received the Distinguished Artist Award at the New Jersey Governor’s Awards
for Excellence in the Arts in Education. In May 2024 she was inducted into her
alma mater South Philadelphia High School’s Cultural Hall of Fame, joining the
ranks of such artists as Marian Anderson.

21
 Soloist
JUNO Award-winning and GRAMMY-nominated
Canadian baritone Joshua Hopkins began his 2024–25
season with a debut at the Semperoper Dresden
Simon Pauly

performing one of his signature roles, Figaro in Rossini’s

The Barber of Seville, and returns later in the season
to sing Papageno in Mozart’s The Magic Flute and
Maximilian in a new production of Bernstein’s Candide.
For his debut at the Berlin State Opera, he reprises the
roles of Apollo and Angry Audience Member in Bernard
Foccroulle’s Cassandra. He also returns to the Metropolitan Opera to portray
another signature role, Count Almaviva in Mozart’s The Marriage of Figaro, which
will be featured on a worldwide simulcast on April 26, 2025, as part of the Met’s
Live in HD series.

Mr. Hopkins makes his Philadelphia Orchestra subscription debut with these
performances of his most personal project, Songs for Murdered Sisters, which he
also performs with the Naples Philharmonic under Alexander Shelley. Written
by composer Jake Heggie and author Margaret Atwood, Songs for Murdered
Sisters was conceived by Mr. Hopkins in remembrance of his sister, Nathalie
Warmerdam, to bring awareness to ending intimate partner violence. A critically
acclaimed film of the piece, directed by James Niebuhr, is available to watch
on YouTube and the JUNO-nominated digital album, released on the Pentatone
label, is available on all streaming platforms. Elsewhere on the concert stage,
Mr. Hopkins performs Beethoven’s Symphony No. 9 with Montreal’s Orchestre
Métropolitain under Yannick Nézet-Séguin. He also joins Manfred Honeck for
performances with the Chicago Symphony of Haydn’s Mass in Time of War and
with the Pittsburgh Symphony for Fauré’s Requiem and Handel’s Messiah.

Mr. Hopkins appears regularly at the Metropolitan Opera, the Lyric Opera of
Chicago, Houston Grand Opera, the Canadian Opera Company, and the Santa
Fe Opera, among many others. His latest role debuts include Zurga in Bizet’s
The Pearl Fishers at the Théâtre des Champs-Élysées in Paris with Les Grandes
Voix; Cavaliere di Belfiore in a new Christopher Alden production of Verdi’s
Un giorno di regno at Garsington Opera; and Athanaël in a concert version of
Massenet’s Thaïs with the Toronto Symphony, conducted by Andrew Davis and
recorded for Chandos Records, for which he won a JUNO Award. He created
the role of Orpheus in the world premiere of Matthew Aucoin’s Eurydice for his
company debut at LA Opera and reprised the role at the Met; he received his
first GRAMMY nomination in 2023 when the Met’s live recording of Eurydice was
nominated for Best Opera Recording.

22
Framing the Program
Parallel Events Jake Heggie’s Songs for Murdered Sisters was born
of tragedy: the deaths within hours one morning
1909 Music
Mahler Vaughan
in 2015 of three women at the hands of a former
Symphony Williams partner. One of the victims was the sister of our
No. 9 Fantasia on soloist tonight, baritone Joshua Hopkins. Heggie,
a Theme of
in partnership with the celebrated Canadian writer
Thomas Tallis
Literature Margaret Atwood, composed eight songs addressing
Maeterlinck the pain of loss for Hopkins to perform.
L’Oiseau bleu
Art Gustav Mahler, during the final three summers of
Picasso his life, composed Das Lied von der Erde (The Song of
Harlequin
the Earth), his Ninth Symphony, and the beginning
History
Perry reaches of a Tenth Symphony. These works have long been
the North Pole considered a kind of valedictory trilogy. Death
haunted Mahler’s life, beginning with those of many
of his siblings and later of his beloved elder daughter.

Death also haunted Mahler’s music. It did so in

extraordinary ways during his final years as he
coped with a serious heart condition. In the Ninth
Symphony, one colleague noted, he bid “Farewell to
all whom he loved”: to the world, art, and his life. The
Ninth Symphony resonated only within the inner ears
of Mahler’s imagination—he did not live to rehearse
or premiere his last completed work and died in
Vienna at age 50.

The Philadelphia Orchestra is the only orchestra in the

world with three weekly broadcasts on SiriusXM’s Symphony
Hall, Channel 76, on Mondays at 7 PM, Thursdays at 12 AM,
and Saturdays at 4 PM.
23
 The Music
Songs for Murdered Sisters
Jake Heggie
Born in West Palm Beach, Florida, March 31, 1961
Now living in San Francisco

History is filled with music of protest, defiance,

confrontation, even calls for revolution: from Jean
Sibelius’s Finlandia with its stance against Russian
James Niebuhr

control of Finland to Fred Rzewski’s The People

United Will Never Be Defeated! with its anti-fascist
sentiment. These works often grow from personal
loss: John Corigliano’s Symphony No. 1 (“Of Rage
and Remembrance”) is both a lament for lost friends
and a condemnation of the Reagan administration’s
disastrous response to the AIDS crisis.

A Cry of Sorrow and Call to Action Jake Heggie’s Songs for Murdered Sisters,
likewise, is at once a cry of sorrow and a call for social and political action. It
grew from a real-life tragedy that took place in 2015 at the hands of a Canadian
assassin who, in a single morning, took the lives of three of his ex-partners: Carol
Culleton, Anastasia Kuzyk, and Nathalie Warmerdam.

This brutal act shocked the world and focused attention on the global femicide
epidemic. It became known that Warmerdam was the sister of world-renowned
Canadian baritone Joshua Hopkins, who resolved to use his grief to challenge
men worldwide to take the White Ribbon Pledge—promising “never to commit,
condone, or remain silent about all forms of gender-based violence.” (The White
Ribbon Campaign was founded in Canada in 1991 as a response to the massacre
of female students at Montreal’s École Polytechnique.)

Hopkins’s plight came to the attention of Jake Heggie, who proposed a musical
response. Marshaling the talents of the Canadian author and poet Margaret
Atwood (The Handmaid’s Tale), Heggie composed eight exquisite songs that
addressed, in strikingly intimate terms, the pain of loss. The protagonist here often
sings to the lost loved one directly, evoking a poignancy reminiscent of Schubert’s
Winterreise. (“I was too late, too late to save you / I feel the rage and pain in my
own fingers / Why should he be here still and not you?”)

A Door Opens “I felt so numb after Nathalie’s murder,” said Hopkins, a veteran
of stages worldwide and a favorite at the Metropolitan Opera. “It was … almost
impossible to comprehend. But Margaret’s words and Jake’s music have opened

24
a door, and stepping through it has allowed me to access all my complicated
feelings surrounding Nathalie’s death.”

Atwood, too, felt the impact. “I have known two women who were murdered, both
by jealous former romantic partners, so the killing of Joshua’s sister resonated
with me.” Still, she added, “I could not promise anything. With songs and poems,
they either arrive or they don’t. … Then I wrote the sequence in one session. I
made the ‘sisters’ plural because they are indeed—unhappily—very plural. Sisters,
daughters, mothers. So many.”

The eight poems Atwood crafted were included in a volume of verse published in
November 2020 as Dearly: New Poems. “Margaret sent a perfect, complete set of
eight texts and asked, ‘How about something like this?’” Heggie said. “Josh and I
were stunned and deeply moved. … It was a great honor and privilege to explore
every corner of her poems to shape this musical, emotional journey for Josh.”
The songs follow a path from dazed disbelief and denial (“If this were a story”) to
nightmares, rage, and frantic reflection.

A Composer for the Voice Heggie has become one of the most significant
composers of vocal music today. Among his works are no fewer than 18 operas
(including Dead Man Walking, The End of the Affair, Moby-Dick, It’s a Wonderful Life);
some 30 cycles comprising more than 300 songs; large-scale vocal-orchestral
compositions; and chamber and orchestral music.

Raised in Florida and in Columbus, Ohio, Heggie studied privately with Ernst
Bacon during high school and, after two years of study in Paris, continued as an
undergraduate at the University of California-Los Angeles. Among his teachers
were Roger Bourland, Paul Des Maris, David Raksin, and Johana Harris. Carlisle
Floyd, the late American opera composer, was a mentor.

After an early career in public relations, Heggie explored opportunities in song

composition and opera. During the late 1990s, San Francisco Opera General
Director Lofti Mansouri approached him about composing an opera with
playwright Terrence McNally. The result was Dead Man Walking, which since its
premiere in October 2000 has received more than 70 productions worldwide.

Written on commission from Houston Grand Opera and Canada’s National

Arts Centre Orchestra, the Songs for Murdered Sisters was given its first live
performance by Joshua Hopkins in March 2022 at Houston’s Rothko Chapel,
with the composer at the piano. In its orchestrated form it received its premiere
in February 2023 at Ottawa’s National Arts Centre with conductor Alexander
Shelley and Hopkins, again, as soloist. These current performances mark the
United States premiere of the orchestral version.

“You don’t process grief in a linear fashion,” Hopkins has said. “Any emotion
can come up any time you’re experiencing an emotional influx. But meaning
transforms grief in a more peaceful and hopeful experience. These songs have
25
 provided that meaning for me.”

—Paul J. Horsley

Paul J. Horsley is performing arts editor for the Independent in Kansas City. Previously he was
program annotator and musicologist for The Philadelphia Orchestra and music and dance critic
for the Kansas City Star.

Songs for Murdered Sisters was composed in 2020.

These are the United States premiere performances of the orchestral version.

The score calls for baritone vocalist, two flutes (II doubling piccolo), oboe, English horn, two clarinets
(II doubling bass clarinet), bassoon, two horns, trumpet, trombone, bass trombone, percussion (bass
drum, castanets, chimes, crotales, glockenspiel, hi-hat, small wood block, suspended cymbal, tam-
tams, tom-toms, triangle, vibraphone [with bow]), harp, and strings.

Performance time is approximately 30 minutes.

Songs for Murdered Sisters And she’d be standing there

(Margaret Atwood, from Dearly, New Alive and happy, come to no harm
Poems)
But this is not a story.
I. Empty Chair Not that kind of story ...
Who was my sister
Is now an empty chair III. Anger
Anger is red
Is no longer, The colour of spilled blood
Is no longer there
He was all anger,
She is now emptiness The man you tried to love
She is now air
You opened the door
II. Enchantment And death was standing there
If this were a story
I was telling my sister Red death, red anger
Anger at you
A troll from the mountain
Would have stolen her For being so alive
And not destroyed by fear
Or else a twisted magician
Turned her to stone What do you want? you said.
Red was the answer.
Or locked her in a tower
Or hidden her deep inside a golden IV. Dream
flower When I sleep you appear
I am a child then
I would have to travel And you are young and still my sister
West of the moon, east of the sun
And it is summer;
To find the answer; I don’t know the future,
I’d speak the charm Not in my dream
26
I’m going away, you tell me Killed by fearful men
On a long journey. Who wanted to be taller
I have to go away.
Over the years, thousands of years
No, stay, I call to you So many sisters lost
As you grow smaller:
Stay here with me and play! So many tears

But suddenly I’m older VII. Rage

And it’s cold and moonless I was too late,
And it is winter … Too late to save you.

V. Bird Soul I feel the rage and pain

If birds are human souls In my own fingers,
What bird are you?
A spring bird with a joyful song? In my own hands
A high flyer? I feel the red command

Are you an evening bird To kill the man who killed you:
Watching the moon That would be only fair:
Singing Alone, Alone,
Singing Dead Too Soon? Him stopped, him nevermore,
In fragments on the floor,
Are you an owl,
Soft-feathered predator? Him shattered.
Are you hunting, restlessly hunting Why should he be here still
The soul of your murderer?
And not you?
I know you are not a bird, Is that what you wish me to do,
Though I know you’ve flown
So far, so far away … Ghost of my sister?
I need you to be somewhere ... Or would you let him live?

VI. Lost Would you instead forgive?

So many sisters lost
So many lost sisters VIII. Coda: Song
If you were a song
Over the years, thousands of years What song would you be?
So many sent away
Would you be the voice that sings,
Too soon into the night Would you be the music?
By men who thought they had the
right When I am singing this song for you
You are not empty air
Rage and hatred
Jealousy and fear You are here,
One breath and then another:
So many sisters killed
Over the years, thousands of years You are here with me.

27
 The Music
Symphony No. 9
Gustav Mahler
Born in Kalischt (Kaliště), Bohemia, July 7, 1860
Died in Vienna, May 18, 1911

“Gustav Mahler was a Saint.” With these words

Arnold Schoenberg began his 1912 memorial address
honoring the composer, who had died the previous
year at age 50. A younger generation of Viennese
composers, including Anton von Webern and Alban
Berg, shared his passion for Mahler’s music. Admirers
sent a funeral wreath reading, “Bereft of the saintly
human being Gustav Mahler, we are left forever with a
never-to-be-lost example of his life and impact.” Berg
spoke repeatedly of the “Holy Mahler,” and Schoenberg dedicated his important
treatise on harmony “to the memory of Gustav Mahler … this martyr, this saint.”
One might add yet another characterization: prophet. For many, Mahler’s music
prophesized not only his own life, but also foretold the future of music and even
of the 20th century.

Saint, Martyr, Prophet—such images have vast implications for an understanding

of Mahler’s life and his music, especially his three final compositions: Das Lied
von der Erde (The Song of the Earth) and the Ninth and Tenth symphonies. These
works explore shared musical and philosophical issues, and they are all, in a
certain sense, unfinished. Mahler did not live to perform them, and he invariably
continued to revise a piece through the stages of bringing it to the public as
well as afterward. While the Tenth Symphony is clearly unfinished (even its first
movement, which reached the most advanced stage and is frequently performed
separately), both Das Lied and the Ninth would surely have undergone further
refinements had Mahler lived to conduct them. His friend and protégé, Bruno
Walter, led the first performances in 1911 and 1912 respectively.

Numbering the Ninth “It seems that the Ninth is the limit. He who wants to go
beyond it must pass away. It seems as if something might be imparted to us in
the Tenth for which we are not yet ready. Those who have written a Ninth have
stood too near to the hereafter.” Mahler supposedly shared these superstitions of
Schoenberg’s about composing a ninth symphony, as had concluded the careers
of Beethoven and Bruckner. (Schubert and Dvořák might now appear to be
candidates for this list as well, although their symphonies were not so numbered
in Mahler’s time.)
28
Alma Schindler Mahler, the composer’s widow and an often-unreliable source,
reported that her husband tried to cheat fate after the uplifting Eighth Symphony
by initially calling Das Lied the Ninth, but that he later “crossed the number out.”
Das Lied, left unnumbered, was titled a “Symphony for Tenor and Alto Voice and
Orchestra,” and sets Hans Bethge’s German adaptations of Chinese poetry. After
completing the Symphony we hear tonight, the official Ninth, Mahler allegedly
told her, “Actually, of course, it’s the Tenth, because Das Lied von der Erde was really
the Ninth.” When he began what he evidently intended to be a five-movement
Tenth Symphony in F-sharp, he remarked: “Now the danger is past.” The Ninth
is a work that begins where the haunting final song of Das Lied, “Der Abschied”
(The Farewell), ended. Mahler composed most of the Ninth Symphony during the
summer of 1909. The following one, his last, he sketched the Tenth.

A Farewell Trilogy? The connections between and among these pieces, as well
as their ultimate place in the composer’s output, have made it all too tempting
to view them as pointing toward death, a “farewell” trilogy, the artistic testament
of a dying man. Mahler had, after all, received serious personal blows in 1907:
His beloved elder daughter, Maria Anna, died at the age of four; he resigned an
untenable position, aggravated by anti-Semitism, at the Vienna Court Opera;
and he was diagnosed with a serious heart condition. Mahler accepted a
lucrative offer from the Metropolitan Opera in New York, but returned to Europe
each summer, when he always did most of his composing. By 1909, the year of
the Ninth Symphony, his professional situation in New York had become more
complicated, as had his marriage to the nearly 20-year-younger Alma, who
was soon to begin an affair with the young architect Walter Gropius (later her
second husband). Mahler eventually learned of this liaison and sought relief from
Sigmund Freud in the summer of 1910. There was to be no next summer. The
fatally ill Mahler left New York for Vienna, where he died on May 18.

The blows of 1907 left their mark on his last four years. Mahler commented in
some of his most personal letters that he had to “start a new life.” In 1908, while
composing Das Lied, he remarked on trying to settle into a different location (he
refused to return to the site of his daughter’s death the previous summer): “This
time it is not only a change of place but also a change in a whole way of life. You
can imagine how hard the latter comes to me. For many years I have been used
to constant and vigorous exercise—roaming about in the mountains and woods,
and then, like a kind of jaunty bandit, bearing home my drafts.” The doctors
advised that he curtail not only the long walks that he so treasured, but also
some of his taxing conducting activities. “I stand vis-a-vis de rien” (face to face
with nothing), he wrote to Bruno Walter, “and now, at the end of my life, I have to
begin to learn to walk and stand.”

Mahler and Death And yet we might want to resist what may be too simple
a connection between Mahler’s late works and death. He had, after all, dealt
with the subject extensively in his earlier music. His first known composition,
29
 supposedly written at around the age of six (and now lost), was a “Polka with
Introductory Funeral March.” Funeral marches abound in his symphonies,
beginning with the third movement of his First. He wrote his haunting
Kindertotenlieder (Songs on the Death of Children) before the death of his own
child. Moreover, whatever his frustrations, Mahler enjoyed considerable success
in New York. (The final devastating blow of his life was personal, not professional:
learning of Alma’s infidelity.) And, despite the initial warnings from his doctors, he
gradually became more active, conducting the New York Philharmonic, of which
he was music director from 1909 to 1911, in a large number of concerts. The year
of the Ninth he wrote to Walter: “I am experiencing so much more now (in the
last eighteen months [since Maria’s death]), I can hardly talk about it. How should
I attempt to describe such a tremendous crisis! I see everything in such a new
light—am in such a state of flux, sometimes I should hardly be surprised suddenly
to find myself in a new body. (Like Faust in the last scene.) I am thirstier for life
than ever before.”

Mahler provided few comments about the intent or meaning of his last
compositions. Concerning the Ninth, he informed Walter that “the work itself
(insofar as I know it, for I have been writing away at it blindly, and now that I
have begun to orchestrate the last movement I have forgotten the first) is a very
satisfactory addition to my little family.” This is an interesting metaphor, given the
recent loss of his daughter, and may indicate how successfully Mahler sublimated
a wide range of feelings into his music. “In it something is said that I have had on
the tip of my tongue for some time.” His nearly daily letters to Alma, who was at a
spa, speak little about the composition and dwell on more mundane matters.

Mahler’s Private Messages Also revealing are some indications that he scribbled
in the sketches and manuscript. In the first movement of the Ninth he wrote:
“O Youth! Lost! O Love! Vanished!” and in the finale: “O Beauty, Love! Farewell!
Farewell!” (He made similar annotations in the Tenth: “Farewell, my music!
Farewell. Farewell. Farewell” and at the end of the finale: “To live for you! To die
for you, Almschi!”) These were personal notes, not meant for public consumption.
Although they do not appear in the published score, colleagues such as Berg (to
whom Alma gave the draft manuscript of the first three movements in 1923) and
the conductor Willem Mengelberg learned of them and it no doubt influenced
their interpretations. The latter noted in his score: “The Ninth Symphony is:
Farewell from all whom he loved—and from the world!—and from his art, his life,
his music.”

Mahler’s view about divulging “extra-musical” information concerning his works

changed over the course of his career. His early symphonies initially carried
intricate programs and descriptive titles, some of which he later withdrew. His
middle trilogy of purely instrumental ones (Nos. 5–7) furthered the retreat. With
regard to his last works, it has primarily been musicians, critics, and listeners who
have invented their own “programs,” especially ones that make connections with
30
farewell and death. A similar situation applies to Tchaikovsky’s Sixth Symphony,
premiered just nine days before the Russian composer’s death in 1893, and a
piece, like Mahler’s Ninth, that ends with an emotional slow movement. (Mahler
allegedly did not much care for Tchaikovsky’s final symphony, although he
conducted it six times in 1910–11.)

More recent biographers and commentators have continued to make the

connections. The British musicologist Deryck Cooke, who constructed the most
frequently performed edition of the Tenth Symphony, remarked that Mahler’s
earlier works project “images” of mortality, while the late ones have the “taste” of
death. Since the Mahler revival of the 1960s, in which he played a commanding
role, Leonard Bernstein’s views of the Ninth Symphony have been particularly
influential. “The Ninth is the ultimate farewell,” the conductor noted. The end of
the Ninth is “the closest we have ever come, in any work of art, to experiencing
the very act of dying, of giving it all up.” The Ninth was Mahler’s “last will and
testament,” a sonic presentation of death itself. But Bernstein saw more than
prophesies of Mahler’s “own imminent death,” extending to “the death of tonality”
and, finally, “the death of society.” After recounting a list of 20th-century horrors,
he remarked that “only after all this can we finally listen to Mahler’s music and
understand that it foretold all.”

A Closer Look The opening of the first movement (Andante comodo) picks
up harmonically and thematically from the end of Das Lied, with its nine-fold
repetition of the word ewig (forever). The rhythm, presented by cellos and a horn
repeated on the pitch A, returns at crucial structural moments in the movement,
including at the climax “with utmost force.” As early as 1912 (and taken up by
Cooke and Bernstein later), the rhythm was likened to “a very slow heartbeat,
irregular, fractured.” A nostalgic D-major theme gradually emerges in the second
violins, accumulating force through a series of fragments played by strings,
harp, clarinets, and muted horns. The organic growth of the themes marks
one of Mahler’s greatest compositional achievements. Over the past century
commentators have discerned various allusions in this movement, not just to
Mahler’s own music, but also to other compositions, including Johann Strauss,
Jr.’s waltz “Freuet euch des Lebens” (Enjoy Life) and, more tellingly, Beethoven’s
“Les Adieux” (Farewell) Piano Sonata in E-flat, Op. 81a. (This allusion comes at the
point where Mahler wrote “Leb’ wol” [Farewell] in the draft score.) Berg believed
that “The whole movement is permeated with the premonition of death. … Again
and again it occurs, all the elements of worldly dreaming culminate in it … which
is why the tenderest passages are followed by tremendous climaxes like new
eruptions of a volcano.”

The slow first and last movements frame two fast, more ironic central ones.
The marking for the second is Im Tempo eines gemächlichen Ländlers (in the
tempo of a relaxed Ländler). Although it starts innocently, it takes on the flavor
of a “Dance of Death,” as T.W. Adorno observed. The following Rondo-Burleske
31
 likewise offers a wide range of moods, including the gestures of popular music of
the sort that brought charges of banality against Mahler. The movement shows
Mahler’s increasing interest in counterpoint, taking his studies of Bach to new
extremes. Fugato mixes with marches, grotesque and angry passages with more
tender moments. A quieter, phantasmagorical middle section looks forward to
the final movement. Adorno called this movement the first major work of new
music.

The concluding Adagio opens with a forceful unison violin theme reminiscent
of two other final works: the slow movement of Bruckner’s Ninth Symphony
and Wagner’s Parsifal, both of which also project lush, hymn-like meditations.
The music plunges into the key of D-flat major. Whereas in some of his earlier
symphonies the tonality progressed upward, for example, in the Fifth Symphony
from C-sharp minor in the first movement to D major in the finale, here the
tonality is regressive, from D major to D-flat. All the Ninth’s movements, except
for the furious coda of the third, end in disintegration, approaching the state of
chamber music. The incredible final page of the Ninth offers the least rousing
finale in the history of music, but undoubtedly one of the most moving. Mahler
provides one further self-allusion, played by the first violins, to the fourth
of his Kindertotenlieder. The unsung song, heard in the first violins, originally
accompanied the words “Der Tag ist schön auf jenen Höh’n” (The day is beautiful
on those heights), telling of the parents’ vision of their dead children at play
on a distant mountain. The music becomes ever softer and stiller, almost more
silence than sound, until we may be reminded of the heartbeat that opened
the Symphony, but now realize it is the consciousness of our own heartbeat. In
this extraordinary way Mahler implicates his listeners in the work, which ends
ersterbend—dying away.

Psychologists, notably the Swiss-American psychiatrist Elisabeth Kübler-Ross,

have explored the various stages of dealing with death, including denial, anger,
and acceptance, and one might argue that all these and more are conveyed
in Mahler’s final three works. One finds denial in Das Lied through the ecstatic
celebration of nature and life, but also rage, and ultimately peace. The Rondo-
Burleske in the Ninth Symphony is an even more terrifying expression of rage,
while the last moments of the work transcend acceptance so as to suggest some
sort of visionary state. The sketches for the Tenth Symphony indicate similar
moments of extreme, dissonant anger, although they suggest that Mahler aimed
for acceptance at the end. These works not only ponder death, but also bid
farewell to the passing of a musical and artistic world, the end of Romanticism,
tonality, and perhaps even the genre of the symphony. At the same time Mahler
looks forward, offering a prophetic vision of music that we are still trying to
understand.

—Christopher H. Gibbs

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 Christopher H. Gibbs is James H. Ottaway Jr. Professor of Music at Bard College and has been
the program annotator for The Philadelphia Orchestra since 2000. He is the author of several
books on Schubert and Liszt, and the co-author, with Richard Taruskin, of The Oxford History of
Western Music, College Edition.

Mahler composed his Symphony No. 9 in 1909.

William Smith conducted The Philadelphia Orchestra’s first performances of Mahler’s Ninth, in
December 1969. The most recent subscription performances were in May 2019, with Yannick Nézet-
Séguin.
The Orchestra recorded the Symphony in 1979 with James Levine for RCA.
Mahler scored the work for piccolo, four flutes, four oboes (IV doubling English horn), three clarinets,
E-flat clarinet, bass clarinet, four bassoons (IV doubling contrabassoon), four horns, three trumpets,
three trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, glockenspiel, large bells
[in A, B, and F-sharp], snare drum, tam-tam, triangle), two harps, and strings.
The Ninth Symphony runs approximately one hour and 30 minutes in performance.

Program notes © 2025. All rights reserved. Program notes may not be reprinted without
written permission from The Philadelphia Orchestra.
33
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 Board of Trustees
The Philadelphia Orchestra and Kimmel Center, Inc.
BOARD OF TRUSTEES Richelle Rabenou* Edward A. Montgomery, Jr.
Ralph W. Muller, Chair Jon Michael Richter Hilarie L. Morgan
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Interim President and Kerri Ryan* Charles Pizzi
Chief Executive Officer Adele K. Schaeffer Robert Pollack
Yannick Nézet-Séguin Dianne Semingson* Hon. Marjorie O. Rendell
Music and Artistic Director, Peter L. Shaw Lyn M. Ross
The Philadelphia Orchestra Adrienne Simpson David B. Rubenstein
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James P. Brandau Jennifer F. Terry Molly Shepard
Patrick J. Brennan, M.D. Sherry Varrelman Richard L. Smoot
Jeffrey Brown Michael R. Vennera Leonard A. Sylk
Karen Buchholz Rev. Dr. Alyn Waller Sheldon L. Thompson
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Michael M. Cone Richard B. Worley Ramona Vosbikian
Joseph Conyers* Joseph Zebrowitz James W. Zug
Robert R. Corrato Bin Zhang
Sarah Miller Coulson Michael D. Zisman As of December 2024
Robert J. Delany, Sr. James W. Zug*
Mark S. Dichter
Jeff Dittus *Ex-officio
Joseph M. Field
Ryan Fleur* THE PHILADELPHIA
Mark J. Foley ORCHESTRA AND
John Fry KIMMEL CENTER, INC.,
Lauren Gilchrist PRESIDENT’S LEADERSHIP
Donald A. Goldsmith COUNCIL
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Christopher M. Keith Thomas A. Decker
David Kim* James Dougherty
Neal W. Krouse Stacy M. Dutton
Lauren Lambrugo* Carole Haas Gravagno
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Tod J. MacKenzie Joseph H. Jacovini
Joseph M. Manko, Sr. Lisa D. Kabnick
David G. Marshall* Ronald L. Kaiserman
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Jami Wintz McKeon Frederick W. Kyle
Stan Middleman Elizabeth M. Mahoney
Dara Morales* David G. Marshall
Ralph W. Muller Sandra G. Marshall
Yannick Nézet-Séguin* Joseph J. McLaughlin, Jr.

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 Photo:
Jeff Fusco

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 How to
Make a Gift Jessica Griffin

Give online Mail your gift to:

at philorch.org/donate
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Annual Fund
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Philadelphia, PA 19102

Contact the Orchestra’s Annual Fund office at development@philorch.org

or 215.893.3151. Our team is available to assist you Monday through Friday,
9 AM–5 PM.

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 Annual Fund
Philanthropic support inspires Artistic Council Presenters Circle
and sustains Your Philadelphia $500,000 and above $50,000 to $74,999
Orchestra’s work on stage, in Estate of M.J. Fischer Estate of Jean Bodine
our local communities, and Otto Haas Charitable Trust Judith Broudy
around the world. We are proud Leslie A. Miller and In memory of Gail and George
to recognize our generous Richard B. Worley Ehrlich
Annual Fund donors by name on Constance and Sankey Williams Estate of Thomas and Floramae
this and subsequent pages. We Wyncote Foundation Force
extend our deepest gratitude Nina Henderson
to every donor, including those Artistic Council Bennett Keiser and
listed anonymously and at levels $125,000 to $499,999 Joy Wilf Keiser
not included in this program. Elaine W. Camarda and Marguerite and Gerry* Lenfest
A. Morris Williams, Jr. Joseph M. Manko, in loving
For more information about CHG Charitable Trust memory of Lynn Manko
donating to the Annual Fund at Tatiana Copeland Joe Neubauer and
any level, please contact us at Tobey and Mark Dichter Jeanette Lerman-Neubauer
215.893.3151 or development@ Edith R. Dixon* Estate of Susanne S. Robinson
philorch.org, or visit philorch.org/ Jerome L. and Thao Dodson Mr. Charles Ryan
donate. Susan and Jonas Ellenberg Salkind Family Foundation
Estate of Robert T. Foley Mr. Oscar Tang and
Contributions listed were received Estate of Dorothy Renc Gray Dr. Agnes Hsu-Tang
between February 1, 2023, and Osagie and Losenge Imasogie Dr. Cecilia Segawa Seigle
November 13, 2024. Please contact Innisfree Foundation Tannenbaum
us if our name has been omitted in Gretchen and M. Roy Jackson Carol Tyler
error or if you would like to update Rachelle and Ronald Kaiserman Bin Zhang and Liqun Qian
your recognition name. James and Agnes Kim Zisman Family Foundation
Foundation
Neal Krouse Presenters Circle
John H. McFadden and $25,000 to $49,999
Lisa D. Kabnick Janet M. Andereck
Ralph and Beth Johnston Muller Donald E. Barb, Esq., and
Estate of Dr. Betty T. Richards the Rev. Bruce H. Davidson
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Williams Karen and Carl* Buchholz
Anonymous Mr. and Mrs. Christopher B.
Chandor
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$75,000 to $124,999 Deborah Driscoll
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Richard M. Klein Patricia and John Imbesi
Estate of Howard Spodek Gay and Donald Kimelman
Mr. and Mrs. Chris Keith
In honor of Katherine O. Leone
Mr. and Mrs. Bruce Leto
Chris and Jeffrey Libson

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 Sandy and David G. Marshall Presenters Circle Mary Ann Stehr
Mrs. Catharine Maxey $10,000 to $14,999 Mr. and Mrs. William Stone
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Lyn Ross Jeff Benoliel and Amy Branch Anonymous (4)
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Allan Schimmel and Mr. and Mrs. Jonathan Broder $5,000 to $9,999
Reid Reames* Judy and Mark Brodsky Erika Aaron and
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Carol A. Westfall Edward and Shelley Sigman Mary Felley
Steve and Mary Beth Young Kathleen and Roger Smith Joele Frank
Anonymous (4) Richard and Amanda Smoot John R. and Karen S. Fulton III

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 $5,000 to $9,999 cont. Philadelphia Phillies, Ray Dombroski and
John and Beth Gamel in memory of Elia Buck Colleen DeMorat
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Paul M. Henkels Mollie and Frank Slattery Judith Ginsberg
Marybeth Henry Samuel and Rosanne Spear Eduardo Glandt and
Ms. Rhoda K. Herrold, In memory Dr. Mary K. Stom and George Ritchie
of Deenie and Yale Evelev Ms. Dru E. Hammell Joseph and Jane Goldblum
Estate of J. Lindon Hickerson Stacy Stone and Dr. Thelma B. Gosfield
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William Lake Leonard Dr. R.J. Wallner Mrs. Beth Ann Wahl Kolpen and
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 Harold and Marianne Sacks John and Joanna Fryling Laurie Wagman in memory of
John Salveson Meher Garfield Irvin J. Borowsky
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Georg U. Simon Mark and Sally Hurwitz
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John and Sandra Stouffer Marie and Jeffrey C. Kenkelen generously contributed to the
Dr. Norman L. Sykes Dr. Richard Kent Annual Fund.
Dr. Peter J. Vasquez Denise and Robert Keyser
Mr. and Mrs. Luciano Virgili Mrs. Sylvia Kreithen Clara Biava
Mr. and Mrs. Michael Vogelmann Elena and Frederick Kyle Davyd Booth and Carlos Perez*
Peggy Wachs Arthur Lazanoff Colleen Coffey-Snyder
Daniel V. Walls Sheila Leith Joseph H. Conyers
Ross and Mary Lou Webber Drs. W.B. and Sarah S. Long Julie and Neil* Courtney
Julie D. Williams Lawrence and Nancy Ludgus Tanya Derksen
Ursule Phaeton Yates Mr. and Mrs. Robert Lukens Helen and Phillip Escaravage
Mr. and Mrs. Harold L. Yoh III Dwight and Christina McCawley Ryan Fleur and Laura Banchero
Walter Zanchuk Mr. and Mrs. James W. McLane Andrea Gartner and
Stephen Zeller Elizabeth McLean Lee Clements
Anonymous in memory of Mr. and Mrs. Patrick Melvin Anna Marie and Michael Gewirtz
Jan Popper Madelyn Mignatti Barbara S. Govatos
Anonymous (3) Virginia Montgomery Jennifer Pratt Johnson and
Dr. Margaret Motl Fred Johnson
Friends Circle Dr. and Mrs. R. Barrett Noone Juliette Kang and
$2,500 to $3,499 Kay and Jerry O’Grady Thomas E. Kraines
Theodore H. Ashford Mr. and Mrs. Lanny R. Patten Ruth Kasow
Allen D. Black and Mr. and Mrs. William H. Pentz Neva and Matthew Kelly
R. Randolph Apgar Judy and Jim Pohlman Herold R. Klein
Joel D. Beaver Ms. Nancy Pontone Sophia Konopelsky
Drs. Bruce and Carole Bogdanoff Mr. and Mrs. Alfred Rauch, Jr. Marjorie and Nolan* Miller
Lois Boyce Allan Rayfield Margarita Montanaro
Mrs. Judith M. Bradley David Richman and Janet Perry Kathleen Moran and
Estate of Elia Buck Gretchen and Jay Riley Nicholas Smith
Estate of Laura Buck Mrs. Bonnie Rocap, in memory Yannick Nézet-Séguin and
Mrs. Linda Burke of Richard S. Rocap Pierre Tourville
Drs. Melvin* and Gloria Chisum John and Claire Rodgers Hai-Ye Ni and
Mr. and Mrs. W. Morgan Ms. Anne Rosewater and Alfred Anthony Brown
Churchman III Mr. Robert Kronley Samantha Noll
Barbara R. Cobb for the Dr. Louis and Mrs. Val Rossman Hirono Oka
Hamilton Family Foundation The Rev. Canon Dr. Alan K. Doris Parent
Jeffrey Cooper and Nancy Klaus Salmon Leslie M. Patterson-Tyler
Selden Cooper and Tom Seaman and Kay Stuligross Henry and Yumi Scott
Paige Edwards Joyce Seewald Sando Joseph Sinkus and
Dr. and Mrs. Joseph P. Costabile Howard J. Sedran and Christopher Labonte
Alice B. Cullen Martha Levine Tubas for Good, Inc.,
Karen and John Cunningham Dr. and Mrs. Hass Shafia Carol Jantsch,
Stacy Maria Dutton and Paul and Susan Shaman President and Founder
Charles McMahon John J. Shaw and Mary Patton Anonymous (2)
Dr. and Mrs. William L. Elkins Ms. Katharine Sokoloff and
Herbert and Jeanette Evert William B. McLaughlin III *Deceased
Letty Jane and Kenneth C. Dr. Christina A. Stasiuk and
Farmer Mr. George M. Farion
Ms. Jane Foster and Ardith Talbott
Mr. Arthur Willson Dr. Alan E. Tasoff and
Mr. and Mrs. William W. Fox, Jr. Jacalyn Shelley-Tasoff
Michael and Vivian Francesco Nancy and Bruce Urbschat
Charles and Judith Freyer Helene and Bill Van Hoeven

41

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 Institutional Support
Generous support from The Hearst Foundation Lincoln Financial Foundation
corporations, foundations, and Independence Blue Cross Kind Insurance
government agencies continues Merck & Co. Incorporated The Blanche and Irving Laurie
to sustain The Philadelphia MKM Foundation Foundation
Orchestra each year. These National Endowment for the Arts Philadelphia International Airport
vital partnerships help fund PECO SpotHero
performances, education and Pennsylvania Emergency Tito’s Handmade Vodka
outreach programs, and a Management Agency White and Williams
variety of innovative projects. The Pew Center for Arts and
We are proud to acknowledge Heritage $10,000 to $14,999
our current institutional donors. PNC Arts Alive Chameleon Cloud Service
Elliot’s Vending Company
$50,000 to $99,999 JKG Florida Business Corp.
For more information about
Paul M. Angell Family Foundation Laudenbach Periodontics and
institutional support for The
KPK Development Co. LP Dental Implants
Philadelphia Orchestra, please
Verizon Pennsylvania M&T Charitable Foundation
contact Ruth Auslander, managing Anonymous The McLean Contributionship
director of institutional giving, NUTRL
at 215.790.5829 or rauslander@ $25,000 to $49,999 Origlio Beverage
kimmelcenter.org. Abington Neurological Associates Pennsylvania Council on the Arts
Brotherston Homecare, Inc. The H. Glenn Sample, Jr., M.D.
Contributions listed were received The Chamber of Commerce for Memorial Trust through the
between March 1, 2023, and Greater Philadelphia PNC Charitable Trusts Grant
October 31, 2024. Please contact us Eagles Autism Foundation Review Committee
if your name has been omitted in Faegre Drinker Biddle & Reath LLP Stateside Vodka
error or if you would like to update Ana Ferreira Law Office Team Clean
your recognition name. Amy P. Goldman Foundation
Gray Charitable Trust $5,000 to $9,999
The Philadelphia Orchestra Hamilton Family Charitable Trust AARP Pennsylvania
is eligible for contributions The Christian Humann Dorothy V. Cassard Fund of the
through the ElTC (Educational Foundation Philadelphia Foundation
Improvement Tax Credit) Megawholesale The Connelly Foundation
program of the Commonwealth The Andrew W. Mellon Dolfinger-McMahon Foundation
of Pennsylvania. Foundation The Gitlin Family Foundation
PHLCVB Christian R. and Mary F.
The Presser Foundation Lindback Foundation
Raynier Institute & Foundation The McCausland Foundation
U.S. Department of State New Music USA
$500,000 and above Wells Fargo Foundation Leo Niessen, Jr., Charitable Trust
Department of Community and Rutgers University—Camden
Economic Development $15,000 to $24,999 TN Ward Company Builders
Ford Foundation Louis N. Cassett Foundation WSFS Bank
The Hess Foundation Julius and Ray Charlestein
The Knight Foundation Foundation in memory
William Penn Foundation of Malvina and Morton
The Pew Charitable Trusts Charlestein
Wyncote Foundation Coppola Chardonnay
Drexel University
$100,000 to $499,999 Four Seasons Hotel Philadelphia
Dr. Robert C. and Veronica at Comcast Center
Atkins Foundation The Anne M. and Philip H.
Bank of China Glatfelter III Family Foundation
Casamigos Tequila The Hassel Foundation
CHG Charitable Trust Independence Foundation
Jessie Ball duPont Fund Josh Cabernet

Philadelphia Orchestra concerts are supported by grants from the Annenberg Foundation; the Commonwealth
of Pennsylvania, Department of Community and Economic Development; the National Endowment for the
Arts; and the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.
42

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 The Volunteer Committees for
The Philadelphia Orchestra
The Volunteer Committees for Volunteer Committee Members Mrs. C. Richard Farmer
The Philadelphia Orchestra are Jill Acker Kathleen Fitzgerald
dedicated to supporting the Dennis Adams Mrs. Timothy E. Foster
Orchestra through audience Dr. Susan C. Aldridge Mrs. Richard Freed
development, educational Pam Alles Katherine Garber
programs, fundraising, Barbara A. Alleva Ms. Janine Gardner
community relations, and Mrs. Betsy Anderson Judi Garst
special events. The Committees Dr. Marilyn H. Appel Ms. Karen Gelfand
were first formed in 1904 and Mrs. Daniel G. Bancroft Nancy J. Gellman
have the distinction of being Mrs. Mercer B. Barrows Robert Gelsher
the oldest auxiliary volunteer Mrs. Thomas E. Beach Mrs. Kimberly Gerson
organization associated with an Mrs. H. Binney Beale Mrs. Micki Ginsberg
orchestra in the United States. Ms. Sandra Blumberg Beatty Mrs. Jean Givey
We are profoundly grateful for Mrs. Nancy Belber Judy Glick
the Volunteers’ leadership and Ms. Susan Berrigan Dr. Janice Taylor Gordon
support throughout the years. Charlotte H. Biddle Dr. Thelma B. Gosfield
Mrs. Thomas H. Bliss Mrs. Richard B. Gould
For more information about the Ann Young Bloom Carole H. Gravagno
Volunteer Committees for The Mrs. Peter Bodenheimer Grete Greenacre
Philadelphia Orchestra, please Mrs. Eugene T. Borish, Jr. Ms. Nancy V. Gulick
contact Samantha Noll, senior Lois Boyce Kate Hall
manager of donor and volunteer Judith Bradley Noel Butcher Hanley
relations, at 215.893.1956. Sibby Brasler Fred Harde
Stephen Breman Michelle Harde*
List complete as of November Mrs. Leanore Brookman Mrs. John S.C. Harvey III
13, 2024 Ms. Carol Melman Brown Mrs. Jane M. Hastings
Mrs. Roland K. Bullard II Mrs. Patricia Heidler
Mrs. Howard Butcher IV Marybeth Henry
Executive Committee Officers Mrs. John P. Butler III Mrs. Frances Herr
Richelle Rabenou, President Mrs. Donald F. Cafiero Mrs. Robert B. Hobbs, Jr.
Sara Cerato, Immediate Past Mrs. Alfred M. Campbell III Joan R. Holmes
President Beverly Caplan-Freeman Mrs. Stephen R. Holstad
Deborah Ledley, Vice President Nicole A. Cashman Eric Hume
Kate Brady Rauscher, Treasurer Mrs. Thomas A.V. Cassel Lenora Hume
Sheila Cox, Secretary Mrs. Kristine Christensen Ms. Adrienne Jacoby
DeAnn P. Clancy Yardly R. Jenkins
Governing Board Chairs Rebecca Clement Karen Jones
Central: Jennier Porges Marsha Cohen Mrs. Mary Anne Dutt Justice
Main Line: Josephine Rees Peggy Cooke Mrs. Wilma C. Katz
New Jersey: Mrs. Diane Larzelere Sarah Miller Coulson Ms. Phyllis Kauffman
Rittenhouse Square: Marlena Mrs. James E. Crutchfield Marie Kenkelen
Kleit and Fran Schwartz Alice B. Cullen Kris Kent
Starlight Circle: Mrs. Anna Karen Cunningham Marlena Robinson Kleit
Minkovich Chris D’Ascenzo Liz Knudsen*
Mrs. J. David Davis Ms. Ellen G. Kopeland
Standing Committee Chairs James F. Davis* Mrs. Bernice J. Koplin
Annual Giving: Nancy Galloway Mrs. Gerard de Lisser Laura Bender Koropey
Education: Deborah Ledley* Colleen DeMorat Mrs. Anthony Lame
Marketing: Kelsey Larzelere Mrs. Robert W. Denious Mrs. MaryAnn Landmesser
Special Functions: Jennifer Mimi Dimeling Molly Lawrence
Porges Katherine Donner Matthew Ledley*
Volunteer Archives: Elizabeth A. Mrs. Virginia Dowd Mrs. Margery P. Lee
Crowell Mrs. John G. Drosdick Sheila Leith
Roberta Epstein* Mrs. Dana Thompson Lerch
Mrs. William H. Eyre, Jr. Mrs. Roy Lerman
Mrs. Charles B. Fancher Anita Leto

43

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 Mrs. Bruce Leto Mrs. Eleanor Oxman* Ann Sorgenti
Mrs. Stephen Levin Mrs. Mary S. Page Carol Spinelli
Mrs. Rosemary Livingston Alice Pakman* Mrs. Phyllis St. Onge
Miss Phoebe Loh Mrs. Regina H. Pakradooni Joyce Stein
Carol Love, M.D. Mrs. Sandra Pfaff Lois Stick*
Mrs. Robert S. Lovett II Mrs. John W. Piasecki Mrs. Kathleen Stone
Rochelle Mogarick Linda Pizzi* Stacy Stone
Elizabeth Mahoney Elizabeth Pontillo Dr. Judith Sills Swartz
Joseph Manko, Sr. Mrs. Malcolm D. Pryor Roberta R. Tanenbaum
Sandy Marshall Michelle Fella Przybylowski* Ms. Faith Tarangelo
Linda Massey Mr. Kameron Rabenou Ms. Mary Tattersfield
Mary MacGregor Mather Mrs. Ellen Ragone Barbara Taylor
Mrs. James McAdam Jill Raich* Kathryn E. Tusler*
Mrs. Stella McSparran Mrs. Alfred Rauch, Jr. Mrs. Hope Ulrich
Ms. Peg Mertz Mrs. A. Gerald Renthal Mrs. Annegret Voparil
Mrs. Barbara G. Miller Mrs. J. Todd Robinette Mrs. Ramona Vosbikian
Mrs. Keiko Miller Deborah L. Robinson Mrs. Jeffrey Warzel
Leslie A. Miller Caroline B. Rogers Mrs. Nancy Weiss
Mrs. Philippus Miller, Jr. Mrs. Randy S. Ronning Janine Weller
Michael Minkovich Dr. Lucy B. Rorke-Adams Mrs. Henry Wendt
Mrs. Robert F. Morris, Jr. Mrs. Dianne Rotwitt Dr. Erlis Wickersham
Ingrid Morsman Mrs. John E. Royer, Jr. Mrs. Brooke N. Williams
Ms. Cathy Moss* Mrs. Thomas I. Rozanski Julie D. Williams
Linda Mui Lynn Salvo Mr. Alan Windle
Mrs. J. Brien Murphy Joyce Seewald Sando Ms. Marian Wissman
Mrs. Albert B. Murphy III Mrs. Harold F. Scattergood, Jr. Lisa Yakulis
Carol Neiman* Mrs. Michael P. Schwartz Bonnie Young
Mrs. John J. Nesbitt III Mrs. Gay Scott Mrs. Gilbert G. Young
Mrs. Patricia Ann Nogar Faye Senneca Ms. Margaret G. Zehner
Mrs. R. Barrett Noone Linda A. Serotta Mrs. V. Scott Zelov
Terry Norton-Wright Carol C. Sherman Anonymous (5)
Mrs. Wilber W. Oaks, Jr. Ms. Diane Silberman
Kay O’Grady Ms. Irina Sipe *Denotes current members
Diane Oliva Marina Smirnova of the Philadelphia Orchestra
Mrs. Mimi O’Malley Mrs. Carol Smith Docent Program

44

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 Endowment
We proudly recognize our Transformational Gifts Richard B. Worley Tribute Fund
generous donors to The The Annenberg Foundation Zisman Family Foundation
Philadelphia Orchestra’s Silicon Valley Community Anonymous (3)
endowment. Their leadership Foundation
gifts support the Orchestra $500,000 to $999,999
and its programs in perpetuity, $10,000,000 Lois G. and Julian A. Brodsky
helping to ensure the legacy Leslie A. Miller and Foundation
of the ensemble for the next Richard B. Worley J. Alexis* and Patricia M.* Burland
generation. The Neubauer Family T. Norwood* and Doreene*
Foundation Collins
To learn how you and your family Evelyn S.* and Rodney D. Day III
can be permanently associated $1,000,000 to $9,999,999 Mrs. F. Eugene Dixon, Jr.*
with The Philadelphia Orchestra The Acadia Fund The Horace W. Goldsmith
through an endowment gift, please Peter A. Benoliel and Foundation
contact Mitch Bassion, chief Willo Carey Gray Charitable Trust
philanthropy officer, at 215.893.1811 Mr.* and Mrs.* J. Mahlon The Hamilton Family Foundation
or mbassion@philorch.org. Buck, Jr. Mr. and Mrs. John C. Imbesi
Estate of Anne M. Buxton Orton P.* and Noël* Jackson
List complete as of November Elaine Woo Camarda and Billy Joel Fund for Music
13, 2024 A. Morris Williams, Jr. Education
Sarah and Frank* Coulson Peter M. Joseph* and
Mark S. and Tobey Dichter Susan Rittenhouse Joseph*
Dr. James F. Dougherty Christian R. and Mary F.
Estate of Dwight V. Dowley Lindback Foundation
Samuel S. Fels Fund Estate of Katharine S. Matthews
Joseph and Marie Field Vivian W. Piasecki*
Carole and Emilio* Gravagno Lyn and George* Ross
Joanne T. Greenspun* Gary and Ruthanne Schlarbaum
Otto Haas Charitable Trust Scott and Cynthia Schumacker
Phoebe W. Haas Charitable Charlotte and Bob Watts
Trust “A” as recommended by Anonymous (3)
Carole Haas Gravagno
Phoebe W. Haas Charitable $250,000 to $499,999
Trust “B” Mr. and Mrs. James M. Buck III
Robert Heim and Peter Buttenwieser* and
Eileen Kennedy Terry Marek
Hannah L. and J. Welles* Ruth M. and Tristram C.*
Henderson Colket, Jr.
Mr. Paul M.* and Mrs. Barbara B. Michael and Constance Cone
Henkels Kenneth Conners*
Hess Foundation Gov.* and Mrs. Pierre S. du Pont
Osagie and Losenge Imasogie L. Patrick Gage
The Kaiserman Family Toni and Bob Garrison
The James and Agnes Kim Ed and Ellen Hanway
Foundation Mrs. Winnifred Howard*
Dr. Richard M. Klein Mr. and Mrs. Berton E. Korman
Drs. Bong and Mi-Wha* Lee William A. Loeb
The Lenfest Foundation Mr.* and Mrs. A. Bruce
Sandra and David Marshall Mainwaring
Robert E. Mortensen* Winifred Mayes*
Ralph and Beth Johnston Muller Estate of Joseph F. McCrindle
Caroline B. Rogers Mrs. J. Maxwell Moran*
Estate of Mary R. Romig-DeYoung Mitchell and Hilarie Morgan
Constance and Joseph* Smukler Wendy and Derek Pew
Estate of Edwin E. Tuttle Foundation
Raymond H.* and Joanne T. Robert and Lynne Pollack
Welsh Lorraine* and David* Popowich
Constance H. and Sankey Mrs. Eleanor K. Read*
Williams Ronald* and Marcia Rubin
Ruth W.* and A. Morris Williams, Jr. Peter and Mari Shaw

45

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 $250,000 to $499,999 cont. Mrs. Joseph B. Townsend* Charley* and Rogie Dickey
Mr. and Mrs. Frank P. Slattery, Jr. Mr. and Mrs. Archbold D. In memory of David P. Eastburn
Ann and Harold* Sorgenti van Beuren Mr. David B. Ford
Mr.* and Mrs. Bernard Spain The Wahl Endowment Fund for Arthur and Joanne B. Frank
Mr. and Mrs. Wilson H. Taylor Music Education, established Charles* and Beatriz Furr
Donors to the Allison Vulgamore by Beth Ann Wahl The Eugene Garfield Foundation
Legacy Endowment Fund James W. and Debora C. Zug Peter G. Gould and
Anonymous (3) Anonymous (4) Robin M. Potter
Mr. and Mrs.* J. Barton Harrison
$100,000 to $249,999 $50,000 to $99,999 Joseph Kluger and Susan Lewis
Mr. and Mrs.* Leonard Abramson Estate of Phyllis H. Bernstein In memory of John B. Leake
Lorraine and Ben* Alexander Mr. Frank Boni and William Lake Leonard
Mr. and Mrs. Sid R. Bass Mrs. Julia Ann Gehman* Mrs. Anna Hayward Lisle*
Donna and Jon Boscia Richard P. Brown, Jr.* Mr. and Mrs. David S. Loeb, Jr.
Mr. Theodore A. Burtis* Mr. and Mrs. William C. Buck Dr.* and Mrs.* Francis R.
Donald R. Caldwell Mr. and Mrs. Roland K. Bullard II Manlove
William B.* and Elizabeth* John* and Helen* Christy R. Steward Rauch*
Chamberlin D. Walter Cohen* and Family Mr.* and Mrs. Richard
Catherine R. and Anthony A. Stacy Maria Dutton Ravenscroft
Clifton Mrs. William Gerstley II* Lois and Gerald Renthal
Marie* and Peter* Dooner Deborah E. Glass Dr. and Mrs. Yale Richmond
Michael and Joan Emmi Martin A. and Cynthia P. Robert and Caro Rock
Peter and Catherine Ernster Heckscher The Rubenstein Foundation
The Moses Feldman Family Richard B. Kent, M.D. Mr.* and Mrs. Samuel J. Savitz
Foundation Ken and Molly Lawrence Mr. Nathan Snader*
Dr. Betty Gottlieb* Doris and Joseph Levine Mr. and Mrs. Robert L. Stevens
The Frederick and Colette B. Mrs. Elsie H. Lisovitch* Harue and Gaisi Takeuti
Heldring Charitable Fund The Malmud-Kravitz Memorial Fund
Hirschberg-Goodfriend Fund Foundation/The Henrietta Bradford Wm. Voigt
established by Varbalow Kravitz Fund Allison Vulgamore
Juliet J. Goodfriend John H. McFadden and Mary E. Webb
Lynn and Tony* Hitschler Lisa D. Kabnick Elizabeth C. Wiegers
David and Gale Hoffman Frances C. Middleton* Richard C. Woodhams and
Estate of Howard Hornstein The Helen Sewall Minton Kiyoko Takeuti
The Hovey Foundation Memorial Fund Anonymous (5)
Joseph and Ann Jacovini Janneke Seton Neilson*
Estate of Jane Kesson Mr. and Mrs. Jeremiah O’Grady *Deceased
Joseph K.* and Bernice J. Koplin Louise and Alan* Reed
Neal W. Krouse Mr.* and Mrs. Norman P.
Elena and Frederick Kyle Robinson
Joanna M. Lewis Dr. and Mrs. Francis Schumann
Lomax Family Foundation Carol C. Sherman
Trust of Helen T. Madeira Mr. Oliver I. Shoemaker*
Joseph and Lynn* Manko The Sidewater Family
Donors to the Lynn K. Manko Foundation
Volunteer Endowment Fund Mr.* and Mrs.* Lewis S. Somers III
Gene and Linda Massey Joseph and Joyce Stein—
The McCausland Foundation The Philibosian Foundation
Stephanie and Michael Naidoff Karen and Shel Thompson
Jeffrey P. Orleans James and Wendy Undercofler
Estates of Mr. and Mrs. Eugene Mrs. Francis L. Van Dusen*
Ormandy Jack and Ramona Vosbikian
Francis H. Rasmus Anonymous (2)
Harold* and Frances* Rosenbluth
Dr. Harry Rosenthal $25,000 to $49,999
Frank Joseph Saul and The Reba Bacharach Trust
Joseph Donald O’Keefe Helen and Jack* Bershad
Endowment Stephen Breman
Christa and Calvin Schmidt David E. Brinson*
Mr.* and Mrs.* John J.F. Sherrerd Estate of Harold W. Brown
Richard and Amanda Smoot In memory of Richard P. Brown
John and Sandra Stouffer Kathleen “Kit” Cafaro
Sunoco Mr. Joseph L. Castle*
Mr. and Mrs. Leonard Sylk Cordelia E. Clement
Robbi and Bruce Toll Don* and Viki Denny

46

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 Academy of Music
Restoration & Preservation Fund
We gratefully acknowledge Proscenium Circle Friends
the following individuals, $25,000 and above $1,000 to $1,499
foundations, and corporations Estate of Mrs. Elia Buck Ms. Jacqueline M. Axilbund
for their generous support of the Estate of Robert T. Foley Frank and Sandra Baldino
Academy of Music Restoration Joanna McNeil Lewis Peter A. Benoliel and
Fund. We extend our gratitude Marie O’Donnell and Willo Carey
to all supporters of the Bruce Satalof Sibby Brasler
Academy of Music, including Caroline B. Rogers Barbara R. Cobb
those not listed below and Mrs. Adele K. Schaeffer Karen and John Cunningham
event sponsors. Ryan Fleur and Laura Banchero
Directors Circle Peter G. Gould and
For more information about $10,000 to $24,999 Robin M. Potter
making a gift to the Academy Mr. and Mrs. Philip Buckingham Mrs. Nancy G. Harris
Restoration Fund, please contact Mr. and Mrs. S. Matthews V. Mr. and Mrs. Kenneth E. Jones
the Annual Fund office at Hamilton, Jr. Mr. and Mrs. Howard* H. Lewis
215.89.3151 or AcademyofMusic@ Mr. and Mrs. Harry Edward Hill III Jeffrey P. Lewis and
philorch.org. Mr. and Mrs. Bruce Leto Mary Ann Rossi
Ms. Jacqueline Badger Mars Ms. Stefanie W. Lucas and
Gifts received between March 1, Leslie Miller and Richard Worley Mr. Christopher Thompson
2023, and November 13, 2024 Foundation Dr. and Mrs. Morton S. Mandell
Brian and Aileen Roberts Susan and Frank Mechura
Tommy and John Murabito
Presidents Circle Asuka and Karen Nakahara
$5,000 to $9,999 The Quaker City Foundation
Lois and Julian Brodsky Mrs. Bonnie Rocap, in memory
Mr. Scott Johnson and of Richard S. Rocap
Mrs. Elizabeth Hanway Johnson
Gay and Donald Kimelman *Deceased
Mr. and Mrs. Thomas A.
Leonard III
Sandra and David Marshall
The Philadelphia
Contributionship
Penelope and Thomas Watkins

Benefactors and Patrons

$1,500 to $4,999
Barb and Clarke Blynn
Estate of Laura and William
Buck
Mr. and Mrs. James M. Buck III
Comcast
Brad Fusco
Penelope P. Harris
Ms. Rita W. Ingersoll
Robert and Betsy Legnini
William A. Loeb
The McCausland Foundation
Mrs. Deborah M. Rohan
Valerie and Will Schwartz
Harold A.* and Ann R. Sorgenti
Mr.* and Mrs. Bernard Spain
Mr. and Mrs. Archbold D.
van Beuren
Janine and Jeffrey Yass

47

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 The Frances Anne
Wister Society
Individuals who have included Joyce J. Creamer Dr. and Mrs. Samuel K. Nash
The Philadelphia Orchestra Mr. Donald R. Caldwell Dr. and Mrs. John L. Neigh
in their estate plans are Ann Csink Charles and Etta Nissman
recognized through membership Malcolm and Seta Demurjian Hon. Joseph D. O’Keefe
Tobey and Mark Dichter Mrs. Frank J. O’Malley
in the Frances Anne Wister Lisa and Peter DiLullo Mrs. Peter B. Pakradooni
Society. Miss Wister made Norman E. Donoghue, Esq. John N. Park, Jr.
a long-lasting mark on the Mrs. Anne Dooley Claudio Pasquinelli and
Orchestra through decades of Antoinette M. Du Biel Kyong-Mi Chang
volunteerism and by leaving MaryAnn Edwards B.J. Phillips and Kath Howarth
a major portion of her estate Dr. David J. Eschelman Barbara L. Phillips
in support of its continued Dr. and Mrs. John Farmer Robert and Lynne Pollack
Gilbert Feinberg and Nancy D. Pontone
excellence. We gratefully
Nadeen Van Tuyle Roger T. Prichard and
acknowledge the generosity Mr. Edward Feldman* Astrid M. Caruso
and foresight of those who Anne S. Foote Janet T. and Frank P.* Reiche
have joined the Wister Society, George and Joan Forde Mr. David Rhody
and we welcome others to Mr. Charles* and Mrs. Beatriz Furr Dr. and Mrs. Yale Richmond
follow their example and make Rosalie K. Gerson James. M. Roland
the Orchestra the beneficiary Dr. Alfred E. and Adele* Goldman Mr. Edward Rorer
of a bequest or other form of Betty and Gary Grunder Dr. Harry Rosenthal
Nancy S. Halpern Lyn and George* Ross
planned gift. Donna K. Hammaker, Esq., and Mr. and Mrs. Richard L. Rothermel
Dr. Thomas M. Knadig Harold and Marianne Sacks
If you would like more information Nimmi Harisinghani Jeffrey and Kendell Saunders
about how to make a planned Mr. and Mrs. Henry Hauptfuhrer Catherine and Steve Schifter
gift to the Orchestra, please Martin A. Heckscher, Esq. Allan Schimmel
contact Mitch Bassion, chief Robert Heim and Eileen Kennedy Mr. and Mrs. Gary G. Schlarbaum
philanthropy officer, at 215.893.1811 Paul M.* and Barbara B. Henkels Dr. and Mrs. William Schwartz
or mbassion@philorch.org. Dr. Archibald C. Hewes Robert and Joan Shaffer
Mr. Andrew Hohns Edward and Shelley Sigman
Kris and Dick Hughey Mr. and Mrs. Richard L. Smoot
List complete as of November Linda R. Jacobs Yara Snylyk and Christina Snylyk
13, 2024 Jerome Kaplan, Esq. Dr. Norman Solomon and
Dr. Richard B. Kent Dr. Merwin Geffen
William E. Kindley Mr. and Mrs. Harold* A. Sorgenti
Joseph and Julia Anisko Dr. Richard M. Klein Marilyn and Dean R. Staats
Mr. and Mrs. Robert S. Balter Mr. and Mrs. Robert C. Kline Alyce and Howard F. Stick
Dr. F. Joshua Barnett and Dr. Charles L. Knecht III John and Sandra Stouffer
Dr. Heidi Kolberg Dr. Deborah Komins Dr. Norman L. Sykes
Mr. and Mrs. Clifford W. Bernice J. Koplin and Leonard and Barbara Sylk
Baumbach, Jr. Joseph K. Koplin* Andrew J. Szabo
Joel D. Beaver Ms. Deborah Krauss Peter H. and Elizabeth V. Talbot,
Mr. Peter A. Benoliel Drs. Bong and Mi-Wha* Lee in memory of Peter H. Talbot, Jr.,
Ms. Jane Berryman Dr. Sherman Leis and Frank A. Talbot
Jan R. Birsch William L. Leonard, Esq. Dr. Cecilia Segawa Seigle
Jill and Sheldon Bonovitz Doris and Joseph Levine Tannenbaum
Dr. Elizabeth M. Bowden Mr. William A. Loeb Mr. and Mrs. Sheldon L.
Mrs. Frances Brenner Denis Lohman and Thompson
Beth* and Edward B. Brunswick Ellen Feldman Lohman John and Gina Torzolini
Dr. Robert A. Bubeck Mrs. Robert S. Lovett II Mrs. Herman B. Wagner
Carol W. Buettger Nicholas Maiale Nicholas A. Walls
Mrs. Laura T. Bullitt Mr.* and Mrs. A. Bruce Ruth W.* and A. Morris Williams, Jr.
Mrs. Carolyn S. Burger Mainwaring Jackie and Earl L. Wolf
Robert* and Helen Buttel Mr. Donald Malpass, Jr. Dr. and Mrs. Theodore V. Yuhas
Peter L. Buttenwieser* and Mrs. Robert C. McAdoo Walter Zanchuk
Terry A. Marek Thomas and Julianne Ms. Margaret G. Zehner
Ms. Kathleen Cafaro McDermott Benjamin Zuckerman, Esq., and
Mr. and Mrs. Frank J. Campbell III Dr. and Mrs. Robert L. Marian Robinson
Beverly Caplan-Freeman Meckelnburg Anonymous (9)
Lawrence Chanen Carol R. Meister
Mr. and Mrs. Anthony A. Clifton Mrs. Philippus Miller, Jr. *Deceased
Gianne Conard Arlene Notoro Morgan
Mrs. M. Todd Cooke Stephanie and Michael Naidoff

48

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 Make a Planned Gift
to The Philadelphia Orchestra
Ensure your legacy, benefit your loved ones, and support The
Philadelphia Orchestra—today and for years to come—with a
planned gift.

Planned giving can include a variety of deferred donations, such

as bequests, IRA rollovers, and charitable gift annuities. Consider
including The Philadelphia Orchestra in your estate plans.

To learn more about the benefits of planned giving, or if you’ve

already arranged for a legacy gift, visit philorchlegacy.org
or contact:

Mitch Bassion
Chief Philanthropy Officer
mbassion@philorch.org
215.893.1811
Pete Checchia

PO_Donors_Jan-25.indd
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Playbill Devo 12/4/24 10:52
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PM
 Administrative Staff
The Philadelphia Orchestra and Ensemble Arts

EXECUTIVE OFFICE Tyler Daddario, Manager Kimmel Center

Ryan Fleur, Interim President and Stacey Ferraro, Programming Suzan Cerceo, Head Wardrobe
Chief Executive Officer Operations and Events Manager Christopher Hanes, Head
Laura McClatchy, Programming Carpenter
Doris Parent, Chief Inclusion, Artist Relations Manager Kenneth Nash, Head Audio
Diversity, Equity, and Access Morgan Sommer, Coordinator Michael Sweeney, Head
Strategies (IDEAS) Officer Electrician
Katherine Schimmer, Director, ARTISTIC PRODUCTION Ali Blair Barwick, Assistant Head
Strategic Initiatives Tanya Derksen, Chief Artistic Electrician
Kristen Chun, Manager, Civic Production Officer Ryan Morris, Assistant Head
Affairs Joanna Scorese, Administrative Electrician
Colleen Coffey-Snyder, Manager, Manager Walter Bass, Assistant Head
Office of the President and Orchestra Production Audio
Chief Executive Officer Marilyn Rife, Senior Director, Walter Brown, Sr., Assistant Head
Julianna Rudnick, Manager, Orchestra Personnel and Tour Audio
IDEAS Strategics Residencies Michael Cobb-Durkin, Assistant
Sheila Watts, Administrative Kimberly Barna, Director Head Electrician
Manager, Governance Michelle Zwi, Director, Orchestra Edward Klumpp, Assistant Head
Operations and Touring Carpenter
ARTISTIC PLANNING Production Miller Theater
Jeremy Rothman, Chief Andre Barette, Director Bridget Brennan, Head Wardrobe
Programming Officer King Rogers, Senior Production Christine Gaydos, Head Props
Makiko Freeman, Artistic Manager, Academy of Music Dan Imburgia, Head Audio
Administrator Elizabeth DeVore, Production Jay Madara, Head Electrician
Shannon Walsh, Master Scheduler Manager, Performance Services Pete Mohan, Head Carpenter
Education and Community Eric Hagenbarth, Production Dave Cushing, Flyman
Danielle Allen, Vice President Manager, Miller Theater Stephen Hungerford, Assistant
Eliza Bailey, Director, Theater and Eileen Harris, Production Head Carpenter
Dance Manager, Marian Anderson Hall Joey Narducci, Assistant Head
Maya Jacobs, Director, and Special Projects Electrician
Instrumental Music Chris Nelson, Production Melissa Williams, Assistant Head
Joshua Lawrence, Manager, Manager, Ancillary Spaces Utility
Jazz Education Programs Adam Steinbauer, Production
Adrian Rosas, Manager, Manager, Perelman Theater BOX OFFICE
Orchestral Music Programs and Education Dan Ahearn, Jr., Manager
Mark Wong, Manager, Theater Alison McLeod, Associate Michelle Messa, Assistant
and Dance Education Programs Production Manager Manager
Nadine Choucri, Coordinator Cassidy Werkheiser, Tad Dynakowski, Assistant
Orchestral Programming Administrative Coordinator Treasurer
Andrew Mellor, Audio Producer Academy of Music Marie McCarthy, Assistant
and Engineer Timothy Johnson, Head Electrician Treasurer
Stephen Alston, Assistant to the Kevin McEntee, Head Props William Qualls, Assistant
Music and Artistic Director and Beverly Nolan, Head Wardrobe Treasurer
Artist Liaison William Ringland, Head Thomas Sharkey, Assistant
Christa Bean, Manager, Artist Carpenter Treasurer
Services Greg Canzanese, Flyman Mike Walsh, Assistant Treasurer
Carolyn Hupalowsky, Manager, Kevin Barrett, Assistant Head
Artistic Administration Props COMMUNICATIONS
Theatrical Programming and Jim McPeak, Assistant Head Ashley Berke, Chief
Presentations Carpenter Communications Officer
Frances Egler, Vice President Scott Smith, Assistant Head Darrin T. Britting, Director,
Napoleon Gladney, Director Electrician Publications and Content
Steve Weber, Assistant Head Development
Utility Stephanie Williams, Director
Travis Wurges, Video Producer
Roberta Gorin-Paracka, Digital
Asset Manager

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 Max Mulpagano, Assistant Video Derrick Johnson, Lead Kevin Pearce, Controller
Producer Maintenance Mechanic Kathleen Curtis, Director, Budget
Jake Rogan, Coordinator Jonathan McCarthy, and Planning
Maintenance Mechanic Ashley Willcox, Senior Accounting
DEVELOPMENT Gary Stanford, Maintenance Manager
Mitch Bassion, Chief Philanthropy Mechanic Laura DiGiambattista, Accounting
Officer Kevin Hamilton, Dockmaster Manager
Anna Marie Gewirtz, Vice Trondell Hill, Housekeeping Jennifer Walker, Payroll Manager
President, Philanthropy Project Manager Kristoffer Domingo, Senior
Liz Saccardi, Associate Vice Angela Schiavo, Painter Accountant
President, Philanthropy Stephan Cuffeld, Custodial Jonelle Kelly, Senior Accountant,
Rachel Messeck, Director, Contracts Administrator Payroll and Benefits
Development Communications Donna Cloman, Administrative Bridget Morgan, Senior Accountant
Annual Fund Assistant Jennifer Munster, Senior
Andrea Gartner, Managing Brea Kelley, Administrative Accountant
Director, Annual Fund and Assistant Lauren Tighe, Senior Accountant
Development Services Office Services Jessica Kerler, Staff Accountant,
Jennifer Pratt Johnson, Director Kathie Cronk, Operations Budget
April O’Brien, Director Manager, Special Projects Zachary Miller, Staff Accountant
Kathleen Moran, Membership Nahema Rivers, Administrative Mona Song, Staff Accountant
Manager Services Manager Binh Vo, Staff Accountant/
Matthew Palmer, Membership Thomas Pera, Administrative Accounts Receivable, Billings,
Manager Services Coordinator and Collections
Juan Carlos Mata, Development Safety and Security Matthew Demetrides, Accounts
Coordinator Euronn McCloud-Armstrong, Payable Accountant
Development Services Assistant Director, Security Jamie Zorrilla-Gray, Staff
Emiline Homan, Manager, Donor Jason Burnett, Safety Manager Accountant/Accounts Payable
Research and Strategy Matthew Lally, Security Manager Julrena Outen, Payroll
Madilyn Hotchkiss, Manager Henri Byrd, Security Supervisor Coordinator
Wesley Hershner, Data and Mia Lowry, Security Supervisor
Research Analyst Anthony Williams, Security INFORMATION TECHNOLOGY
Jack D. Labbe, Development Supervisor Barbara Crane, Vice President
Coordinator Roland Carbonetta, Jr., Security John Callinan, Director,
Yvonne Toot, Development Officer Technology Infrastructure
Coordinator Clifford Cook, Security Officer Pari Dasmuth, Director, Business
Donor Relations and Stewardship Clarence Cottman, Security Applications and Project
Mitra Keykhah, Senior Director, Officer Management
Stewardship Programs Kenneth L. Gilliard, Security Eugene Gagliardi, Senior Network
Jennifer Monahan, Director, Officer Engineer
Development Events Rodney Howard, Security Officer Tristian Gay, Cloud/Systems
Joseph Sinkus, Director, Donor Taebreya Lewis, Security Officer Engineer
Relations Sara Mahan, Security Officer Mohammed Djaballah, Manager,
Samantha Noll, Senior Manager, Mian Mason, Security Officer Business Intelligence
Development and Volunteer Gregory Meek, Security Officer Mark Macalanda, Quality
Relations Randall Monte, Security Officer Assurance/Testing Analyst
Institutional Giving Thomas Pierce, Security Officer Leo Konkel, IT Support Engineer
Ruth Auslander, Managing Kenneth Reaves, Security Officer Mpho Reed, IT Support Engineer
Director Timothy Ryan, Security Officer
Rob Ruzanic, Senior Grants David Sisco, Security Officer MARKETING AND AUDIENCE
Manager Lashawn Washington, Security EXPERIENCE
Rachel Holder, Manager Officer Crystal Brewe, Executive Vice
Lisalotte Crampton, Grant Writer Keira White, Security Officer President and Chief Marketing
Philanthropic Engagement John Wilsman, Security Officer and Audience Experience
Officer
Helen Radenkovic, Managing
FACILITY SALES Christine Lauer, Administrative
Director
Carrie Reynolds, Director Coordinator
Neva Kelly, Senior Officer
Shawn Cotugno, Senior Manager Audience Experience
Kimberly V. Nelson, Senior Officer
Audrey Gildea, Senior Sales Lindsay Berckman, Director
Natalie Sandstrom, Officer
Manager Connor Lucas, Director, Food and
Beverage Business
FACILITIES
FINANCE Kyleigh Taylor, Associate Director,
James Pecora, Vice President
Mario Mestichelli, Executive Vice Audience Services
Jennifer Stark, Director, Capital
President and Chief Financial Katie Masterson, Senior Manager,
Projects
Officer Events Services
Scott Derkacz, Assistant Director
Ruth Kasow, Vice President and Carla Pontarelli, Senior Manager,
Kevin Quinn, Chief Engineer
Director Guest Services

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 Julie Bernard, Manager, Damarise Johnson, Audience PEOPLE AND CULTURE
Operations Support Services Associate Karen M. Tomlinson, Vice
Keith Donahue, House Manager Alicia Katz, Ticketing Operations President
Korey Jones, Venue Manager, Associate Jessica Rivera, Director,
Kimmel Center Cierra Woods, Audience Services Compensation and Benefits
Thomas J. Kerrigan, House Associate Christopher Shaw, Director, Talent
Manager Rebecca Childs, Ticketing and Culture
Todd Kunze, Venue Manager, Operations Coordinator Indonesia Young, Talent
Academy of Music and Miller Digital Marketing Acquisition Specialist
Theater Daniel Christiansen, Senior Ashley Colston, Coordinator
Erin Lunsford, Administrative Director, Digital Marketing
Manager Strategy and Web ADMINISTRATIVE OFFICES
Devin Randall, House Manager Winona Wyatt, Director, Digital 300 South Broad Street
Travis Roberts, House Manager Marketing Philadelphia, PA 19102
Jaiden Bentley, Operations Karina Kacala, Director, Phone: 215.893.1900
Support E-Marketing Optimization and www: philorch.org
Tyshawn Burrell, Operations Innovation
Support Sarah Biddle, Manager, Digital TICKET OFFICE
Andrew Hight, Operations Marketing Business hours:
Support Brooke Grant, Web Content and The Academy of Music
Zapheir Johnson, Operations UX Manager Broad and Locust Streets
Support Rachael Micucci, Marketing Philadelphia, PA 19102
Christopher Kyle, Operations Manager, Customer Journey Tickets: 215.893.1999
Support Marie Altmann, Digital Marketing
Audience Services and Ticketing Associate Concert dates
Matt Cooper, Vice President, Institutional Marketing (two hours before concert time):
Audience Services Sophia Konopelsky, Director The Kimmel Center
Meg Hackney, Director, Ticketing Ana Thomas, Senior Manager, Broad and Spruce Streets
and Audience Services Brand Strategy and Creative Philadelphia, PA 19102
Jayson Bucy, Associate Director, Services
Ticketing Operations Kacy Hofstetter, Manager
Owen Groce, Audience Services Emma Noel, Marketing Associate
Manager Rachel Bennett, Graphic Designer
Emily Grove, Training Manager Remy Perez, Graphic Designer
Catherine Pappas, Subscription Programmatic Marketing
Project Manager Leslie Patterson-Tyler,
Anthony Mullins, Audience Vice President, Program
Services Supervisor Communications and
Chrisla Dor, Priority Services Partnerships
Coordinator, The Philadelphia Elizabeth Hess, Associate Vice
Orchestra President, Program Marketing
Chris Eklund, Priority Services Geoff Cohen, Associate Vice
Coordinator, Ensemble Arts President, Orchestra Marketing
Philly Lauren Hall, Director, Program
Matthew Enters, Quality Public Relations
Assurance Coordinator Victoria McCabe, Director
Elijah Doss, Group Sales Ashley Ryan, Director
Representative Erica Barry, Marketing Manager
Rob Lawlor, Group Sales Carrie Williams, Programmatic
Representative Marketing Manager
Nicola Scicchitano, Lead Audience Matthew Nicolosi, Senior Data
Services Representative Analyst
Danielle Woolis, Lead Audience Manisha Modi-Davis, Manager,
Services Representative Audience Development and
Elly Serafin, Audience Services Group Sales
Representative Alec Newell, Manager, Audience
Thursha Sutherland, Audience Development and Affiliates
Services Representative Zoe King, Data Analyst
Andy Svarczkopf, Audience Doménica Castro, Marketing
Services Representative Content Associate
Jamie Agins, Audience Services Alison Hopkins, Marketing
Associate Associate
Jaylyn Anderson, Audience Erin Witman, Programmatic
Services Associate Marketing Associate
Tristan Berrien, Audience Services
Associate

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 Pete Checchia

Did you know?

You can support arts
education and receive
tax credit for up to 90%
of your donation.
To learn more,
scan the QR or
visit philorch.org/
support-us

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